Marinetti e i futuristi by Luciano De Maria

By Luciano De Maria

Il libro si propone come indagine e documentazione sul più importante movimento dell'avanguardia italiana. Si ripropongono gli scritti teorici e le elaborazioni letterarie dei futuristi, tracciando l'affresco di uno dei momenti più vitali della cultura italiana di questo secolo. un grande riformatore morale che, dal principio della Benevolenza, derivò le regole di vita della character, della famiglia, dello Stato. L'Armonia, l'Ordine e l. a. velocity, fondamento della Società e disciplina rigorosa della mente e del cuore. l. a. ricerca della Virtù (le Virtù Costanti sono l'essenza dell'uomo e della vita umana) è una religione, una religione senza Dio, senza vita futura, dove Salvezza significa raggiungere los angeles virtù perfetta qui, dentro di noi.

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The Dutch watched warily, Maass continued, but despite all they had heard of Nazi atrocities, they saw no looting, no cel­ ebrating, and certainly no killing and raping. This brief era of forebearance reflected a miscalculation on the part of the Germans—they believed, at first, that the Dutch were fellow “Nordics” so occ u pi e d hol l a n d 27 closely tied to Germany by culture, language, and “blood” that Holland could smoothly be annexed into greater Germany. That belief did not last long. In February 1942, Joseph Goebbels, the Nazi propaganda minister, confided his impatience to his diary: “The Dutchman’s character is in many respects quite strange to us,” he groused.

At home in famously tolerant Holland since the time of the Spanish Inquisition, the Jews had let down their guard. But even if they had grasped the full extent of Nazi fanaticism as soon as the war began, by then it was too late. Like their Christian neighbors, Holland’s Jews put their faith in neutrality. Then they waited, “a little prayerful and very hopeful,” in the words of the Dutch historian A. J. ” Those hopes had been betrayed. Before the war, the Jewish population of Holland was 140,000.

Hebborn, especially, continually resorts to cook­ ing analogies. A drawing “may be baked, not burnt, in a moderate oven,” he instructs, in a discussion of how to make ink cut its way into the surface of the page, as it eventually does in old drawings. ” H av i ng s e e n s om e of the obstacles facing a would-be forger of drawings, let us turn to oil paintings. Later we will look in detail at how forgers go about making “old” paintings, but for now the point to emphasize is a general one—forging paintings is difficult, and forging old paintings is terribly dif­ ficult.

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