N. 29 - Capri

Pagine futuriste
Futurist pages
CAPRI 1905-1940
a cura di Lea Vergine
Skira
18 euro
CAPRI C FUTURISTA
a cura di Ugo Piscopo
Alfredo A Guida Editore
77,75
euro
LLA
TORRE
DDI
CLAVEL
ddi
Carlo Knight
LLa
Conchiglia Ed.
115
euro
“CAPRI 1905-1940” SKIRA ED.
Marinetti a Marina Piccola in compagnia di Enrico
Prampolini, Alfredo Casella e Nino Frank (1922).
Sopra, la Grotta Azzurra dipinta da Prampolini.
Marinetti at Marina Piccola with Enrico Prampolini,
Alfredo Casella and Nino Frank (1922). (Above) The
Grotta Azzurra painted by Prampolini.
tolineato Edwin Cerio nella presentazione
della mostra da Bragaglia, «ha sferrato un
poderoso pugno nell’occhio di chi vede
Capri solamente nelle vetrine delle nostre
botteghe di pittura». Del resto Prampolini
vedeva l’isola soltanto così, con l’occhio
mobile e vivace del futurista.
confessed: “The more I love this island, the
more I fear its effects on my art.”
While Marinetti and Cangiullo wrote poetry
about the Capri of the futurists, it was Enrico
Prampolini who portrayed the island with
canvas and paints, interpreting it in his own
particular style, dense with cubist impressions.
That was how the first nucleus of the exhibition
“Futurist Interpretation of the Capri Landscape”
began to take shape, with forty works created
by Prampolini in the summer of 1922 and
presented first at the Quisisana hotel and later
at the Bragaglia art centre in Rome.
The most striking of these paintings were Danza
della Tarantella. Architettura cromatica di Capri
and the famous Grotta azzurra, where the inside
of the cave is broken up into rigid geometrical
shapes in brilliant colours. It was more a mental
landscape than a real one, where nature,
architecture and the human form are broken
up in a series of projections of perspective
reminiscent of Picasso’s cubist experiences.
They are sharp, spiky visions, constructed
from geometrical shapes, and far from the
traditional views of Capri, almost transfigured
by the artist’s constructivist leanings; as Edwin
Cerio pointed out in the Bragaglia exhibition,
“he has planted a heavy fist in the eye of those
who see Capri simply in the display windows
of our artists’ studios. And in fact this was the
only way Prampolini saw the island – with the
quick, mobile eye of the futurist.
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