LAS HISTORIAS DE LAURA PISANI: Día de la Palabra como Vínculo de la Humanidad 2020

lunes, 23 de noviembre de 2020

Día de la Palabra como Vínculo de la Humanidad 2020

El 23 de Noviembre, se celebra un año más el Día de la Palabra como Vínculo de la Humanidad, coincidiendo con la fecha en la que se inauguró el Museo de la Palabra, y a propuesta de numerosos países e Instituciones. Desde la Fundación César Egido Serrano, queremos seguir contando con vuestras iniciativas y actividades, que tanto han aportado a esta celebración a lo largo de los últimos años, por lo que quisiéramos nombrarte Embajador de la Palabra y os animamos a crear e impulsar las iniciativas que consideréis. Por ejemplo: convocar a las personas que sientan la necesidad de poner la palabra como única herramienta frente a la violencia, y, de este modo contribuir a la convivencia entre religiones y culturas. Pero también podéis subir una fotografía o vídeo o comentario en Facebook, o simplemente, hacer una reunión entre amigos y hacérnoslo saber, ya que todas aquellas propuestas recibidas, serán compartidas con todos vosotros a través de nuestras redes sociales, emails y webs. De esta manera, podremos demostrar que se puede lograr un mundo mejor a través de la palabra. Ese día más que nunca, la palabra debe ser el vínculo de la Humanidad.

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NÓMADE

Aquel que detenía
Su mirada en los paisajes
Para llevarlos consigo
Al nuevo lugar donde migrase,
Y contaba a los pájaros
De los brillantes colores
De otros plumajes
Que habitaban
Algún sitio lejano.
Aquel que era amigo
Del mar y la montaña,
Y en el llano andaba
Con los pies descalzos
Sin temer
Ni al viento
Ni a la lluvia,
Y bebía el agua
De un río o una laguna.
Aquel, cuya única casa
Era su cuerpo
Y la llevaba a cuestas
Cual una tortuga.
Aquel que ignoraba
El paso del tiempo
- el tiempo de un día
le era suficiente-,
y no pedía honores
Ni flores
El día de su muerte.
Y nómade es Aquel
Que escribe e imagina
Tantos lugares y gente
Desconocidos,
Y es capaz de huir
Por una ventana
Montado en el tren
De su propia fantasía.

Niño No Blanco

Aunque no seas Blanco ni Blanca, ni sepamos si sobreviviste al hambre y a todas las miserias que nos muestra el ojo del zoom; aunque nadie haga cadena de oración por todos los que, como vos, viven amenazados por la partida, en el silencio de las lágrimas de unos pocos y el anonimato para tantos; aunque hayas sido inmortalizado en tus harapos y tu mugre, causados por la indiferencia de muchos; aunque nunca llegues a recibir siquiera las vacunas que te protejan de la virulencia de los gérmenes asesinos; aunque los mezquinos no te ayuden a salvar a la humanidad con tu sonrisa oculta en el lagrimal de tus párpados; aunque hayas tenido que madurar a los golpes de la vida para saciar tus intestinos con el jugo de las hojas secas entre las piedras polvorientas; aunque la mirada distraída de nosotros te haya condenado a la indigna existencia de los invisibles con nombres ilustres; yo te aseguro que eres mi niño guía en los sueños de mi infancia …..

REDES DE ENCAJE

Su mano recorrió los dedos, las costuras, el agujero del tiempo que aprovecharon las polillas, de aquel guante que perdió su blanco original del principio de la historia, cuando el encaje halagaba sus manos en los agasajos festejando sus éxitos, su fama…
Aquella última prenda que se ponía con la alegría de saber que estaría con los que amaba, los que aplaudían su talento.
El mismo guante que acariciara copas de champagne y canapés, y estrechara otras manos que congratulaban su arte en el escenario: hombres que mentían la admiración de su cuerpito estilizado lleno de la gracia femenina de los cisnes y las mariposas; hombres que la deseaban, que intentaban comprar, con su dinero y su poder, sus encantos, y que ella eludía con sonrisas cómplices, débil a la lisonja.
El mismo guante que recibiera tantas flores, desde que lo compró en la tienda más prestigiosa de París un día de lluvia, tras la noche que creyó sería la más cara entre todos sus recuerdos en su carrera de artista.
El mismo que perdió su par cuando partiera lejos de la mascarada de los que fingieron conocerla; de los que, por envidia a su falsa felicidad, la hundieron en el caos de las intrigas, de los rumores, de un delito, de un juicio donde, con el mismo par de guantes, guardó silencio mientras los observaba a todos, por primera vez, como nunca antes los había visto: tan ruines y tan infames!; cuestionándose quién era ella misma.
A veces, no los escuchaba, hasta que la despertaba el viento de sus gritos con acusaciones que la hacían dudar de su cordura, para volver a evadirse en los recovecos de su memoria: en los paseos por la campiña con el hombre que amaba y que ahora le costara tanto reconocer junto a aquella nueva mujer, en las gradas del juzgado; el bullicio de los hijos, por la mañana, con el desayuno servido en la terraza, y que ahora le negaran sus abrazos, celosos porque danzaba como una diosa.
La sentencia era clara: no la amaban!, por lo que aceptó la soledad de la isla con el canto del mar y el vuelo de las gaviotas, sus hermanas, en su elegido exilio de una cortesana, que no pudo esperar la justicia de Dios, y se entregó al encaje de las olas…..

RETRATO DE LAURA PISANI

Dosso Dossi (circle of), Portrait of Laura Pisani, ca. 1525, Los Angeles, Getty Museum

Painter: circle of Dosso Dossi (born Ferrara, ca. 1490--1542)

Date: ca. 1525

Movement: Renaissance (High Italian, "Cinquecento")

Original location:

Collection: Los Angeles: J. Paul Getty Museum 78.PA.226

Medium and size: oil on canvas

36 x 31 1/2 in.

Literature: Getty website

Notes: Dossi was a painter for the Este court, where he did a number of portraits. The exact identity of the sitter is unknown; the Getty website says 'The inscription on the paper, "LAV. PISI ANNOR XX MDXXV," provides a number of clues to the viewer: it identifies the sitter, gives her age as twenty, and also tells the date the painting was finished. More than one Laura Pisani lived in Venice in 1525, but all were members of the important Pisani family, which included doge, cardinals, writers, bankers, ambassadors, and friends of Galileo Galilei. ' While Venice is a possibility, the family only became really prominent in the late 16th c., so Laura might have been from somewhere else, such as Ferrara or even Pisa, as another website on the Pisani name states: ' Other branches of the family are recorded in Milan, Pavia, Bologna, Sicily and Naples. As happened with most Italian surnames, there are numerous variations of the name due to major changes in the language and local spellings. Variations include Pisa, Pisari, Pisano, Pisani, Pisanello and others. '

The Carpet Index

Lauren Arnold, last update 5/6/09

laurenarnold@cs.com

Dossi, Dosso

Date of birth and death: c1490-1542

Nationality: Italian
Uploaded artworks: 26

About the artist:

Outstanding painter of the Ferrarese School in the 16th century.

His early life and training are obscure, but Vasari's assertion that he was born around 1474 is now thought unlikely. He is first recorded in 1512 at Mantua (the name `Dosso' probably comes from a place near Mantua--he is not called `Dosso Dossi' until the 18th century). By 1514 he was in Ferrara, where he spent most of the rest of his career, combining with the poet Ariosto in devising court entertainments, triumphs, tapestries, etc. Dosso painted various kinds of pictures--mythological and religious works, portraits, and decorative frescos--and is perhaps most important for the part played in his work by landscape, in which he continues the romantic pastoral vein of Giorgione and Titian. The influence from these two artists is indeed so strong that it is thought he must have been in Venice early in his career. Dosso's work, however, has a personal quality of fantasy and an opulent sense of color and texture that gives it an individual stamp (Melissa, Borghese Galleria, Rome, c.1523). His brother Battista Dossi (c.1497-1548) often collaborated with him, but there is insufficient evidence to know whether he made an individual contribution.

Le FAMIGLIE PATRIZIE VENETE

presenti dal 1297-1797 con continuità nel GRAN CONSIGLIO furono ottantasei .
Costituirono la spina dorsale della politica della Repubblica.

* * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * * *

Badoer,Balbi, Barbarigo, Barbaro, Barozzi, Basadonna, Baseggio, Bembo, Bernardo,Boldù, Bollani, Bon, Bragadin, Calbo, Canal, Cappello,Civran, Cocco, Collalto,Contarini, Corner, Correr, Dandolo, Diedo, Dolfin, Donà, Duodo, Emo ,Erizzo,Falier, Foscari, Foscarini, Foscolo, Gabriel, Giustinian, Gradenigo, Grimani,Gritti, da Lezze,Longo,Loredan,Magno, Malipiero,Manolesso, Marcello, Marin,Memmo, da Mezzo, Miani, Michiel, Minio, Minotto, Mocenigo, Molin, Moro,
Morosini, da Mosto, Muazzo, da Mula, Nadal, Nani, Orio, Pasqualigo, Pesaro,
Pisani, Pizzamano, Polo, Priuli, Querini, da Riva, Ruzzini, Sagredo, Sanudo,
Semitecolo, Soranzo, Tiepolo, Trevisan, Tron, Valaresso, Valier, Venier, Vitturi,
Zane, Zen, Zorzi, Zusto.

1537 N.D. Laura Pisani di N.H. Zuanne , di N.H. Vettor . ( S . SILVESTRO )

Pisani families

The Noble Family of Cuzkeri, which Abela describes as being possibly of Grecian, Calabrian or Norman origin, which held in 1343 and 1345, the “feudo nobile” of “Frigenuini nella contrada del Fiddeni”.

This family is listed as a noble family in “Descrittione di Malta” (1647). Moreover, a lady descendant of this family Catarina Cuzkeri was later 1732) to receive the right to be styled “Most Illustrious and Noble” In addition, although the fief appears to have passed on to the Stuniga family by 1513, the honorific title of “Barone di Frigenuini” was granted twice by separate creations (1737 and 1773) in favour of the Mompalo and Pisani families who were cognate descendants of the feudatory Cuzkeri family.

Updated 18-07-2010.

“Ha’ goduto anticamente l’onore questa famiglia d’un feudo nobile nomato il territorio Frigenuini nella contrada del Fiddeni. Di lui fu’ investito dal Re’ Federico, Goddo CuzKeri Maltese per se, e suoi legittimi eredi, discendenti dal suo corpo in perpetuo, sotto ricognitione d’un paro di sproni dorati, cosi’ leggiamo nel privilegio registrato ne’ libri della regia Cancelleria di Palermo degl’ anni 1343, & 1345 di dove per alcune notitie mandateci caviamo, che nel 1513 il detto feudo era posseduto dagli’ eredi di Donan Clara di Stuniga, hoggi si trova in piedi l’istessa casa, ma non pero’ il quello stato primiero: tuttoche nel secolo passato habbia havuto il Dottor Natal CuzKeri con qualche nome, che fu’ Giurato della nostra Citta negli’ anni 1585 & 1589. Ella mostra derivara dalla Grecia, poiche CuzoKeri suona in quell’ Idioma mano stroppiata; congetturiamo nientedimeno, che possa essere in Malta venuta di Calabria, e forse col’ l-Conte Ruggiero, quando vi passo a’ sciacciare I Saraceni, facendosi cola mentione di tal cognome, come si scorge nell’ Abbate Pirro in un appendice della Notitia Palermitana, ove in un privilegio del medesimo Conte, di certa Terra in Calabria, non lungi da Nicotra si dice Columbus filius Basilis Cuzo Keri” (From Abela’s “Della Descrittione di Malta del Commendatore Abela” (1647))

Florentine and Italian Dress

Examples found in Renaissance art from the years 1525 to 1550
Although my interest in Florentine dress originated with a focus on the first quarter of the 16th century, I have always felt it is also important to understand the full evolution of a particular mode of dress. This can be achieved in part by learning about the fashion trends both before and after your target time frame. This lets you understand where a style came from, and what it developed into.

In this period, the basic structure of the gown remains essentially the same, except for a gradual lowering of the waistline, and an increasingly cone-shaped bodice, which can be traced to an increased Spanish influence after the Battle of Pavia in 1525. The contrasting guards still appear in gowns from time to time, but they are eventually replaced by more elaborate trims and patterned fabrics as the century progresses. The biggest change occurs in the shape of the sleeves, which move from the wide, one-piece styles of the previous period, to a two-piece construction with a full upper-sleeve and tight lower-sleeve. A very early example can be found in a painting by Pontormo in 1516, but most of the two-piece sleeves before the year 1525 tend to appear as a transitional tied-on version with the camicia still showing at the shoulder, as seen in works by del Sarto or Bacchiacca. However, they soon become attached to the bodice, probably by a hidden lacing strip. A great many variations on this basic structure can be seen in Florentine paintings, and this style appears to also be widespread throughout various other Italian regions as well. The large upper-sleeves eventually become smaller and smaller as you approach mid-century, until they become nothing more than a decorative puff at the shoulder. The tight foresleeves also become a favorite place for elaborate decoration, with slashes providing a way to show off lining furs, rich undersleeves, and gold buttons or aglets.

Similar Styles from Other Italian Regions
There seems to be a good deal of crossover between the styles of various Italian regions during this period, as many examples of similar fashions can be seen in other areas, such as Venice, Rome, and Ferrara. (If you are a bit rusty on your geography, like I was, and would like to see a map of Italy during the Renaissance, check this out!) Although there were some regional styles that remained concentrated in one specific city-state, a similar basic solution for gown and sleeve construction can commonly be seen throughout many parts of Italy at this time. But as a disclaimer, the major artists of this time traveled a great deal, as did their patrons, so it is a bit difficult to pin down specific styles to a specific area... but I will try to give as much information as I can find by researching the background of each painting.

AROS EN LA EDAD MEDIA

Earrings appear to have been fashionable in the Early Middle Ages, and then not at all through the High Middle Ages and Late Middle Ages -- and then become trendy again in the 16th century.
When they do appear in western Europe in the Late Middle Ages, earrings are a sign that the individual wearing them is not part of the norm -- the "other," to borrow the term from "Marked Difference: Earrings and 'The Other' in Fifteenth-Century Flemish Art" in Encountering Medieval Textiles and Dress -- often indicating that the person being depicted or described is meant to be Eastern or African. Note, for example, the use of earrings on scenes of the Adoration of the Magi. (Think of it as a sort of late medieval artistic shorthand for "exotic," rather than a depiction of something that followed the conventions of western European fashions at that time.)

Portrait of Laura Pisani, 1525

PISANI EN CÓRCEGA

"Counts Preziosi (Granted in 1718 by King Victor Amadeus, as registered in Malta in 1720)"
Corsica was occupied by a Franco-Ottoman alliance force in the Invasion of Corsica (1553). Historic map of Corsica by Piri Reis.

* Luigi Maria Preziosi of Corsica, Merchant in Ajaccio, married (c. 1580) to Cecilia N, with issue.
*Captaino Giuseppe Preziosi, Merchant to the Black Seas, married (c. 1620) Corfu to Antonella Venier, with issue.
* Captaino Luigi Geronimo Preziosi, Cmdr of the Corsican Navy, also Merchant Trader., married 1664 at Athens to Maria Maurocordato, with issue.

1. Giuseppe Preziosi, Ist Count, -See Below.
2. Gaetano Preziosi :sives Passaquer", Merchant Trader, married 1669 to Isabella Trivoli, with issue. (issues in Malta)
2.1. Marie Preziosi, married 1686 to Giorgio Calicocaisi.
2.2. Caterina Passaquer., married 1686 to Abramo Poussieghes., with issue.
2.2.1. Angelica Poussieghes., married 1720 to Gio Batta Bres., with issue.
2.2.2. Matteo Poussieghes., married (1) 1733 to Teresa Garsin, married (2) 1730 to Margherita Sceberras., with issue.

2.2.2.1. (First Marriage) Antonio Poussieghes., married 1750 to Laura Pisani dei Baroni di Frigenieuni. , with issue.

A ribbon tied loosely around her braid. Shoulders back, arms taut and fingers tightly interlaced behind her. Lanky legs, knobby knees. Tired, lilting eyes. Tattered gauze tutu. And chin lifted in irresolute defiance.
Edgar Degas’ “Little Dancer, Aged Fourteen” is one of the most recognizable works of modern art in the world. Looking at her, some will see a teenager who, though a little awkward, has a quiet beauty and authenticity. Others envisage an ugly, depraved street urchin.
For more than a century, her figure has been scrutinized, unleashing vicious debates over issues of female beauty and sexuality. She was center stage, too, for part of an artistic revolution.
As part of the ongoing wrangling over the girl’s identity, and what she represents, art historians in more recent years have begun to ask: Who was she?
A girl by the name of Marie Van Goethem was the real “little dancer,” a frequent model for the French painter and occasional sculptor.
Her story, as it has come together, is fragmented and quite grim.

MARIE VAN GOETHEM’S STORY
Born poor in Paris
Marie Genevieve Van Goethem was born June 7, 1865, to Belgian parents, a father who was a tailor and a mother who had no profession. The girl was given the name of her dead sister, who died after 18 days of life the prior year.
The Van Goethems settled in Paris, a place then quickened by a new sense of the modern, straddling its pre-industrial and post-industrial self.
The onset of modernism brought with it a new popular culture, too. Bustling streets, sidewalk cafes, singers and dancers, enticing shops – these were all signs of a new pace of life, a new hunger for pleasure and entertainment.
The family lived in Paris’ 9th Arrondissement, a diverse stew of wealthy and poor, day laborers and prostitutes, brothels and merchants. The Breda district where Marie was born was one of the most squalid pockets.
Marie became a student at the Paris Opera dance school and later performed in opera house ballet performances. Her two sisters, Antoinette and Charlotte, were also dancers.
At some point when the girls were still young, Mr. Van Goethem died, leaving his wife and daughters to fend for themselves. Mrs. Van Goethem became a laundress, a common job for dancers’ mothers.
The widow Van Goethem and her girls moved into a seven-story stone building facing the street, not far from Degas’ studio. It had “one dark staircase,” two shops at street level, a paint shop, a beer seller, an innkeeper, a hairdresser and laundresses.
The world within a world of impoverished Parisians of that time: “But mixed up with the lofty brand-new buildings there were still plenty of rickety old houses; between facades of carved masonry yawned black holes, gaping kennels exposing their wretched windows. Coming up through the rising tide of luxury the destitution of the slums thrust itself into view.”
Dance as a fine art had fallen to the realm of mild musical entertainments that attracted large, less discriminating crowds. Dancers were paid modest wages, and a little extra per-performance money. It was generally more than other child laborers earned.
Degas frequented the ballet performances at the Paris Opera House, where Marie danced roles of extras such as peasants and slaves. He often slipped backstage with other prominent figures of the day.
His relationships with women are largely unknown. Degas’ mother died when he was 13, he never married and no one can say whether he had mistresses or not.
Each of the trio of girls modeled for Degas, as did a host of others. The artist created some of the first behind-the scenes images of dancers, by far his favorite subject.
Since the 1870s, Degas had been investigating the mechanics of human motion, which some say caused a psychological distance from his subjects, both in the studio and in his art. He dictated positions to the dancers who, for four hours of holding a pose, would probably be paid between 6 and 10 francs (a pound of meat cost a franc or
two).
He did not work quickly, unlike many of his Impressionist contemporaries, and demanded a great deal of time and perseverance from his models. At some point, the police came around, asking questions about the frequent comings and goings of the young girls.
Degas attended the ballet’s auditions and competitions, with, some say, a paternal interest, advocating for one dancer or another.
The dancer’s hard work and the cost to her body are present in her muscular form and her stance. She is an individual, tired and tense, not a type.
Young Marie became known as Degas’ model. The local newspapers, which included a line or two about each dancer when there was a performance, described just Marie as an “artist’s model” for a time.
Marie and her sister Antoinette were also noted in the papers for frequenting the Martyrs Tavern and the Rat Mort, both frequented by Degas and known hangouts for young and available women. The girls had become prostitutes. The lower- and middle-class women who took up the sex trade were both reviled and desired in a way that’s partly unfamiliar today.
Fear that their vulgarities would infiltrate the new modern culture was common. Still, they were also among the most independent, and sometimes educated, women of their time. For a few, prostitution was a way to climb up the social ladder.
For the van Goethem girls, though, it was not.
Antoinette was thrown in jail for trying to steal 700 francs from one of her gents and seems to disappear from all record after that. Marie was arrested, too, for trying to pickpocket one of her customers.
Marie was eventually sacked, dismissed from the opera ballet. Dancers were usually fired for things such as performance mistakes, absences and tardiness.
After that, nothing is known about Marie. That her fate was cast into oblivion only accentuates the debate over the meaning of “Little Dancer.”
The end to Marie’s story might have affirmed one point of view or another, but we don’t know whether she married, had children or even grew to old age. No record has been found.

LAS HISTORIAS DE LAURA PISANI

lunes, 23 de noviembre de 2020

Día de la Palabra como Vínculo de la Humanidad 2020

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