I NOSTRI INCONTRI

[genziana]

la KHORA.teatro con il TSA Teatro Stabile d'Abruzzo

presentano


VINCENT VAN GOGH. L'odore assordante del bianco

di STEFANO MASSINI con regia di Alessandro Maggi

| nel ruolo del protagonista ALESSANDRO PREZIOSI


scene|costumi Marta Crisolini Malatesta; disegno luci
Valerio Tiberi, Andrea Burgaretta; musiche Giacomo
Vezzani; supervisione artistica di Alessandro Preziosi


prima nazionale '17 NAPOLI TEATRO FESTIVAL Italia

produz. KHORA.teatro |TSA Teatro Stabile d'Abruzzo

e in collaborazione con il FESTIVAL DI SPOLETO 60

PERSONAGGI E INTERPRETI


Vincent Van Gogh - Alessandro Preziosi
Dottor Peyron - Francesco Biscione
Theo Van Gogh - Massimo Nicolini
Dottor Vernon-Lazàre - Roberto Manzi
Roland - Vincenzo Zampa
Gustave - Alessio Genchi

NTFI 2017 mart. 27 e merc. 28 giugno, 21:00 (2 ore)

Palazzo Reale, cortile d'onore; Napoli, p.zza Plebiscito








FESTIVAL DI SPOLETO 60 .-. Auditorium della Stella

orari : 1 (22:00) - 2 (18:30) - 3 (20:00) luglio 2017





Foto: ©Francesco Cabras


TOUR TEATRALE 2018 | calendario provvisorio Khora.teatro

dal 20 al 21 gennaio – FERMO, Teatro DELL’AQUILA
. AMAT Associazione Marchigiana Attività Teatrali
- Residenza di Riallestimento


23 gennaio 2018 - ESTE (PD), Teatro FARINELLI
. ArteVEN Circuito Teatrale Regionale
. Teatro Stabile del Veneto, Teatro Nazionale
. Regione del Veneto e MiBACT


dal 24 al 28 gennaio - VENEZIA MESTRE, Teatro TONIOLO
. ArteVEN Circuito Teatrale Regionale


dal 31 gennaio al 4 febbraio - TRIESTE, Politeama ROSSETTI
. TEATRO STABILE DEL FRIULI VENEZIA GIULIA,
- Teatro di Rilevante Interesse Culturale


dal 6 al 11 febbraio - FIRENZE, Teatro della PERGOLA
. TEATRO DELLA TOSCANA, Teatro Nazionale


dal 13 febbraio al 4 marzo - ROMA, Teatro ELISEO


6 marzo – SULMONA (AQ), Teatro Com.le Maria CANIGLIA
. ACS Abruzzo Circuito Spettacolo


dal 7 all'8 marzo - TERAMO, Teatro Comunale
. ACS Abruzzo Circuito Spettacolo


dal 9 all'11 marzo - BOLOGNA, Teatro DUSE


dal 13 al 14 marzo - L'AQUILA, Ridotto del Teatro Comunale
. TEATRO STABILE D'ABRUZZO, Ente Teatrale Regionale


dal 15 al 18 marzo - SALERNO, Teatro Municipale VERDI
. Teatro Pubblico Campano


dal 20 al 25 marzo - NAPOLI, Teatro MERCADANTE
. TEATRO STABILE DI NAPOLI, Teatro Nazionale


27 marzo - URBINO (PU), Teatro SANZIO
. AMAT Associazione Marchigiana Attività Teatrali


28 marzo - RECANATI (MC), Teatro Giuseppe PERSIANI
. AMAT Associazione Marchigiana Attività Teatrali


dal 6 all'8 aprile - TREVISO, Teatro Com.le DEL MONACO
. Teatri e Umanesimo Latino SpA
- Incontri: sabato 7 aprile, ore 18.00 Dialoghi sul teatro


dal 10 al 12 aprile – THIENE (VI), Teatro Comunale
. ArteVEN Circuito Teatrale Regionale


dal 14 al 15 aprile – CHIETI, Teatro MARRUCINO

con preghiera di NON usare Riporta onde consentire modifiche/aggiornamenti. Grazie!



_________________

[genziana]

Alessandro Preziosi parla del nuovo spettacolo "VAN GOGH.
L'odore assordante del bianco" in occasione della conferenza
stampa per la presentazione della Stagione Teatrale 2017/18
del Teatro Eliseo di Roma; video-intervista a cura IL MESSAGGERO TV 15/06/17

http://video.ilmessaggero.it/restituiamo_emozioni_nuova_stagione_teatro_eliseo-2503959.html di Valentina Venturi

_________________

[genziana]

il thriller psicologico di Stefano Massini, Vincent Van Gogh, l’odore assordante del bianco: “un testo di drammaturgia contemporanea
che racconta la storia di una vocazione, di un artista che non può
essere classificato cercando di seguire l’iter creativo e il suo lato
umano” come spiega Alessandro Preziosi; via teatrionline.com 14/06/17

https://youtu.be/7jUzQKql6nM?t=3m54s

scheda, cast e creativi, note di regia saranno disponibili in alto

in attesa di un argomento dedicato allo spettacolo dalla pagina


www.alessandropreziosi.tv/forum/viewtopic.php?t=7582&start=2145

_________________

[marystone]

uauuuuuuuuuuuuu ....che bella foto!!! ...barba alla Van Gogh...ma tu sei molto ma molto più bello e affascinante!!!!

Ale...mi sembra di capire che sarà un lavoro molto impegnativo....dati il soggetto e l'oggetto che dovrai portare sul palco!!! ...ma non ho dubbi sulla riuscita e sul successo!!!!

Un abbraccio


grazie sempre Giuly
_________________

[PATRICIA 22]

Alessandro, in this letter, Vincent van Gogh wrote to his brother Theo, Vincent speaks of: his mother, His love of Shakespeare and the little English he knows, among other things.

From: Vincent van Gogh
To: Theo Van Gogh
Date: Saint-Rémy-de-Provence, Tuesday, July 2, 1889

My dear Theo,
Enclosed I’m sending you a letter from Mother, naturally you know all the news it contains. I think it’s very logical of Cor to go there.

(Note: Although Vincent had been in Saint-Rémy since May 8, Mrs van Gogh had addressed her letter ‘to the Hospital at Arles’, as she said in a letter she wrote to Theo and Jo on April 29, 1889: ‘I hope he received it and am greatly longing to hear something from him. I think of him a lot and hope so much that it may lead to his recovery’)

(Note: Around August 20, 1889, Cor van Gogh left for South Africa, where he went to work for Cornucopia Gold Company in Germiston near Johannesburg.)

What is different there from staying in Europe is that down there one doesn’t have to undergo the influence of our large cities, as one does here, so old that everything in them seems to be in its dotage and tottering. So instead of seeing one’s vital forces and natural, native energy evaporate in circumlocution, it’s possible that one might be happier far from our society. Even if it were otherwise, the fact remains that it’s to act uprightly and in accordance with his upbringing for him not to hesitate to accept this position.

So now it isn’t to tell you all this news that you know that I’m sending you the letter. But it’s for you to observe in it a little how remarkably firm and regular the writing is when one thinks that it’s true what she says, that she’s ‘a mother approaching 70’. And as you’ve already written to me, and our sister has too, that she seems to have got younger, I see it myself from this very clear writing and in her tighter logic in what she writes, and the simplicity with which she appreciates facts.

I believe now that this rejuvenation has obviously come to her from the fact that she’s happy that you’ve got married, which she’d wanted for so long; and I congratulate you that your marriage can give you and Jo the rather rare pleasure of seeing your mother growing young again. It’s really for that that I’m sending you this letter. Because, my dear brother, it’s sometimes necessary later to remember – and it’s so timely that, at the very moment when she'll have the great pain of being separated from Cor – and it will be hard on her, that – she should be consoled by knowing that you’re married. If the thing were possible you shouldn’t wait fully a whole year before returning to Holland, for she’ll be longing to see you again, you and your wife.

At the same time, having married a Dutchwoman, that could in a few years, sooner or later, warm up business relations with Amsterdam or The Hague again.
Anyway, once again I haven’t seen a letter from Mother indicating so much inner serenity and calm contentment as this one – not for many years. And I’m sure that this comes from your marriage. It’s said that pleasing one’s parents brings a long life.

I now thank you very much for the consignment of colors, deduct them from the order placed since, but if it’s at all possible, not for the quantity of white. I thank you also very cordially for the Shakespeare.

(Note: van Gogh had asked for Dicks' edition of the Complete works of Shakespeare in a previous letter.)

It will help me not to forget the little English I know – but above all it’s so beautiful.

I’ve begun to read the series I know the least well, which before, being distracted by something else or not having the time it was impossible for me to read, the series of the kings. I’ve already read Richard II, Henry IV and half of Henry V.

(Note: Shakespeare’s Richard ll (1596 -1597) demonstrates how an incompetent king can bring about his own downfall. Richard shows little willingness to sacrifice himself for his kingdom, and too easily becomes involved with flatterers who clearly mean mischief. He consequently loses his power and finally the throne.)

(Note: Henry Henry IV (1598-1599) recounts the rebellion of Harry Percy, called Hotspur, against the cool and calculating King Henry. The descriptions of their negotiations and encounters underline the importance of bravery and perseverance. The play shows that injustice leads to ruin.)

(Note: In Henry V (1599-1600) the righteous King Henry lays claim to the French throne, after being assured of his right to it. Insults and affronts from the French cause negotiations to break down. The subsequent struggle underlines the importance of uprightness and loyalty.)

I read without reflecting on whether the ideas of the people of that time are the same as ours, or what becomes of them when one places them face to face with republican or socialist beliefs &c. But what touches me in it, as in the work of certain novelists of our time, is that the voices of these people, which in Shakespeare’s case reach us from a distance of several centuries, don’t appear unknown to us. It’s so alive that one thinks one knows them and sees it.

So what Rembrandt alone, or almost alone, has among painters, that tenderness in the gazes of human beings we see either in the Pilgrims at Emmaus, (For Rembrandt’s Pilgrims at Emmaus) or in the Jewish bride, (For Rembrandt’s Jewish bride) or in some strange figure of an angel as in the painting you had the good fortune to see (For The archangel Raphael) (no longer attributed to Rembrandt), that heartbroken tenderness, that glimpse of a superhuman infinite which appears so natural then, one encounters it in many places in Shakespeare. And then serious or gay portraits like the Six, like the traveller, like the Saskia, it’s above all full of that.

(Note: van Gogh knew the copy after Rembrandt’s Saskia van Uylenburgh [1849] from his time in Antwerp)

What a good idea Victor Hugo’s son had of translating all of it into French so that it’s thus within the reach of all.

(Note: The complete translation of Shakespeare by François-Victor Hugo, the Oeuvres complètes, appeared between 1859 and 1866 in 17 volumes published by Pagnerre in Paris; Victor Hugo, the translator’s father, wrote the foreword)

When I think of the Impressionists and of all these present-day questions of art, how many lessons there are precisely for us in there.

So from what I’ve just read the idea comes to me that the Impressionists are right a thousand times over. Yet even they must think about it for a long time and always. If it follows from that that they have the right or the duty to do themselves justice, and if they dare call themselves primitives, certainly they’d do well to learn to be primitive as people a little, too, before pronouncing the word primitive like a title that would give them rights to whatsoever.

(Note: Gauguin and Bernard described their work as ‘primitive)

But those who would be the cause of the Impressionists being unhappy, well naturally the case for them is serious, also when they make light of it.
And then it would appear that waging a battle seven times a week couldn’t go on.

It’s amazing, though, how L’abbesse de Jouarre, when you think of it, holds its own even beside Shakespeare.

(Note: Ernest Renan’s play L’abbesse de Jouarre (1886) is about the abbess Julie-Constance de Saint-Florent, who was sentenced to death after the French Revolution. Mindful of her vows, she never surrendered to her love for the marquis d’Arcy, who was confined in the same prison and whose execution was to take place on the same days as hers. They finally give themselves to one another the night before their execution. She is pardoned at the last minute, however, and must live on, her conscience burdened by her sin. van Gogh probably compared this book to Shakespeare because of its detailed descriptions of the abbess’s inner struggle and Renan’s beautiful use of language)

I think that Renan treated himself to that in order to be able to say beautiful words for once in full and at his ease, because these are beautiful words.
So that you may have an idea of what I have on the go I’m sending you ten or so drawings today, all after canvases on the go.

(Note: These ‘ten or so drawings’ were the following ten drawings made after paintings: Trees with ivy in the garden of the asylum after Trees with ivy in the garden of the asylum, Wheatfield and cypresses after Wheatfield and cypresses, Wheatfield after a storm after Wheatfield after a storm, Starry night after Starry night, Cypresses after the first state of Cypresses, Olive trees with the Alpilles in the background after Olive trees with the Alpilles in the background, Cypresses after Cypresses, Wheatfield after Wheatfield, Reaper after Reaper and Wild vegetation after the underlying composition of Ravine Fields with poppies was probably part of the consignment, although this was not a drawing after the painting of the same name but a preliminary study.)

The latest one begun is the wheatfield where there’s a little reaper and a big sun. The canvas is all yellow with the exception of the wall and the bottom of purplish hills. The canvas with almost the same subject differs in coloration, being a greyish green and a white and blue sky.

How I think of Reid as I read Shakespeare, and how I’ve thought of him several times when I was iller than at present. Finding that I’d been infinitely too harsh and perhaps discouraging towards him in claiming that it was better to love painters than paintings. It isn’t up to me to make distinctions like that, not even when faced with the problem that we see our living friends suffering so much from the lack of enough money to feed themselves and pay for their colors, and on the other hand the high prices that are paid for the canvases of dead painters.

In a newspaper I was reading a letter from a collector of Greek objects to one of his friends, which contained this phrase ‘you who love nature, I who love all that the hand of man has made, this difference in our tastes deep down creates the unity in it’. And I found that better than my reasoning.

I have a canvas of cypresses with a few ears of wheat, poppies, a blue sky, which is like a multicoloured Scottish plaid. This one, which is impasted like the Monticellis, and the wheatfield with the sun that represents extreme heat, also thickly impasted, I think that this would explain to him more or less, however, that he couldn’t lose much by being our friend. But that’s true on our side too, and precisely because we were perhaps right to disapprove of his method we ought on our side to take a step towards reconciliation.

Anyway, I daren’t yet write now for fear of saying too many foolish things, but when I’m more certain of my pen I’d very much like to write to him one day. It’s the same for other friends, but I really have told myself that I should wait as long as possible before being able, even in the best of circumstances, to arrive at this ‘being a little more certain of myself’.

I still have canvases in Arles that weren’t dry when I left, I very much want to go and get them one of these days in order to send them to you. There are half a dozen of them.

(Note: Shortly after this, van Gogh collected six canvases from Arles and sent them to Theo: Orchard in blossom with a view of Arles, Avenue of chestnut trees in blossom, La Crau with peach trees in blossom, Field with flowers under a stormy sky Road with pollard willows and Orchard in blossom with a view of Arles.)

The drawings appear to me to have little color this time, and this is very probably due to the over-smooth paper. Anyway, the Weeping tree and the Courtyard of the hospital at Arles are more colored, but that though will give you an idea of what I have on the go.

(Note: More colored’ probably refers to the black-and-white gradations in the drawing. Recent findings do not indicate the presence of colored ink)

The canvas of the reaper will become something like the Sower of the other year.

(Note: The Sower of the other year’ probably refers to the ambitious canvas Sower with setting sun which van Gogh had painted in November 1888. In May 1889 he sent it to Theo, who thought it very beautiful)

As later the books of Zola will remain beautiful precisely because they have life.
What also has life is the fact that Mother is happy that you’re married, and I think that this cannot be disagreeable to yourselves, you and Jo. But the separation from Cor will be so hard for her that it’s difficult to imagine.

It is precisely in learning to suffer without complaining, learning to consider pain without repugnance, that one risks vertigo a little; and yet it might be possible, yet one glimpses even a vague probability that on the other side of life we’ll glimpse justifications for pain, which seen from here sometimes takes up the whole horizon so much that it takes on the despairing proportions of a deluge. Of that we know very little, of proportions, and it’s better to look at a wheatfield, even in the state of a painting. I shake your hands firmly and will have news of you soon I hope. Good health to you both.

Ever yours,
Vincent


"The evil that men do lives after them; the good is oft interred with their bones."
―William Shakespeare

"There is no greatness where there is no simplicity, goodness and truth."
―Leo Tolstoy

"It's important to me to say what I really mean."
―Christopher Reeve

Until next time, Fare thee well, me.
_________________
Patricia.

"Hell is empty and all the devils are here."
―William Shakespeare

[genziana]

«È da un anno e mezzo che sto studiando. Non posso dire nulla, ma sarà fantastico» - Alessandro Preziosi -
così si esprime circa il suo spettacolo quasi al debutto

'' VAN GOGH. L'ODORE ASSORDANTE DEL BIANCO ''


e così mi permetto di proporre alla visione questo documentario proposto da RAI ARTE
senza nascondervi che mi ha commosso, consiglio di trovare una mezz'ora per vederlo.

http://www.raiplay.it/video/2016/09/I-PREDATORI-DELL-ARTE-PERDUTA-b65a4150-e062-43fe-9bec-e0a8ba69d547.html

RAI 5 - I predatori dell'arte perduta : "La custode di VAN GOGH"

Ha vissuto nella povertà e alla sua morte i suoi quadri si potevano comprare per pochi soldi. Ma allora, come e quando le opere di Van Gogh diventano famose e tra le più costose e ambite sul mercato? Tutto merito di Johanna van Gogh-Bonger, cognata dell'artista. A svelare il ruolo chiave di questa donna nell’affermazione del pittore è l’episodio “Vincent van Gogh” della serie “I predatori dell’arte perduta”, in onda giovedì 15 giugno alle 19.45, venerdì alle 12.09 sul Canale 23 del digitale terrestre RAI.


_________________

[Marisol]

Mio carissimo amico Ale,

Sei stanco??

Penso che hai bisogno di un po 'di riposo, unisci un lavoro con un altro, è finito un lavoro e subito inizi un altro, senza riposo….sei sempre molto occupato e impegnato in mille cose ....

Sono felice perché oggi è una benedizione di avere lavoro, ma non ti dimenticare mio caro amico, anche è necessario e importante riposare per continuare lavorando e fare felice al tuo pubblico e persone che ti vogliamo tanto bene !!

Quando verrà una vacanza ??



Non ho alcun dubbio, il tuo prossimo lavoro sarà fantastico come vi ho detto: mai mi hai frodato, mai mi frodi e, mai mi froderai !!!!

Tanti baci con grande affetto da Madrid !!

TVTB

Marisol
_________________
La vera ricchezza è prendere la vita con amore, donando amore.

[genziana]

Nella giornata di ieri, 15 giugno 2017, star e celebrities italiane del calibro di Alessandro Preziosi, Carolina Crescentini, Sabrina Impacciatore e Giulia Bevilacqua si sono dati appuntamento a Roma per la presentazione di #SANSET, il nuovo cocktail creato da esperti barman per celebrare la bellezza del tramonto. Un momento che ha visto più di 200 persone incontrarsi sulla terrazza dell’Hotel Radisson Blu per un rooftop cocktail esclusivo.

Un fenomeno naturale quotidiano, ma capace ogni giorno di risvegliare lo stupore, raccontato da sempre da artisti e poeti. Dai cieli di Monet e Van Gogh al verso di Machado “Che cerchi, poeta, nel tramonto?”, dai rossi panorami indiani del fotografo Steve McCurry alla romantica scena del cult cinematografico Pearl Harbour, in cui Danny mostra ad Evelyn dall’aereo la baia infuocata. Quell’ora magica che separa il giorno dalla notte è il momento in cui le emozioni si intensificano e la frenesia della quotidianità lascia spazio alla leggerezza e alle risate tintinnanti da condividere con gli amici o il proprio amore. (testo e foto da SANBITTER Comunicazione)


_________________

[PATRICIA 22]

Alessandro, in this letter Vincent van Gogh speaks of a roll of canvases he is going to be sending to his brother.

From: Vincent Van Gogh
To: Theo van Gogh
Date: Saint-Rémy-de-Provence, Sunday, 14 or Monday, July 15, 1889

My dear Theo,
Tomorrow I’ll send you a roll of canvases by goods train. There are four of them, i.e. the following

1 View of Arles, orchards in blossom
(Note: Orchard in blossom with a view of Arles)

2 The ivy
(Note: Trees with ivy in the garden of the asylum)

3 The lilacs
(Note: Lilacs)

4 Pink chestnut trees in the botanical gardens in Arles
(Note: Avenue of chestnut trees in blossom)

which will hold their own with the ones you already have, such as the red and green Vineyard, The garden,

(Note: Probably The public garden (‘The poet’s garden’) which van Gogh viewed as a pendant to Avenue of chestnut trees in blossom.)

The harvest, The starry sky.

(Note: Starry night over the Rhône)

I’m also enclosing another 7 studies which are dry but which are studies after nature rather than subjects for paintings. And that’s how it always is, you have to do several of them before you find a whole with character. Now here are the subjects of these 7 studies.

The irises (Note: Irises)

View of the asylum at St-Rémy
(Note:The garden of the asylum)

no. 30 canvases.
Peach trees in blossom (Arles)
(Note: Crau with peach trees in blossom. Its size – 65.5 x 81.5 cm – means that it is a no. 25 canvas.)

Meadows (Arles)
(Note: Field with flowers under a stormy sky. It measures 59.5 x 70 cm (slightly smaller than a no. 20 canvas)

Olive trees (St-Rémy)
(Note: This was presumably Olive grove, measuring 49 x 63 cm (no. 15 canvas)

Old willows (Arles)
(Note: Road with pollard willows, measuring 55 x 65 cm (no. 15 canvas)

Orchard in blossom.
(Note: Orchard in blossom with a view of Arles, measuring 50.5 x 65 cm (no. 15 canvas).

Now the next consignment, which will follow shortly, will consist mainly of wheatfields and olive groves. As you can see, I’ve been to Arles to fetch these canvases. The orderly from here accompanied me.

(Note: This was possibly Charles-Elzéard Trabuc, the chief orderly who posed for Van Gogh two months later)

We went to Mr Salles’s house, who had gone away on holiday for two months, then to the hospital to see Mr Rey, whom I didn’t find either. So we spent the day with my former neighbours, as well as my charwoman from those days (Note: Thérèse Balmoissière) and a few others.

One becomes very attached to people one has seen while ill, and it did me a world of good to see some people again who were kind and indulgent towards me then. Someone told me that Mr Rey had taken an examination and had been to Paris,

(Note: A letter from Rey to Theo of December 30, 1888 reveals that he had to defend his doctoral thesis in Paris.)

but the porter at the hospital said he didn’t know. I’m curious to know if you might have seen him, for he had planned to go and see the exhibition and then pay you a visit. The doctor from here (Note:Théophile Peyron)

will perhaps not go to Paris, he suffers a great deal from his gout. I’ve also received the second consignment of canvases and colors, and I thank you very much for them. The latest canvas I’ve done is a view of mountains with a darkish hut among olive trees at the bottom. (Note: The Alpilles with a hut)

I imagine that you’ll be very absorbed by thoughts of the child to come, I’m very pleased that this should be so, with time I dare believe that you’ll thus find much inner serenity. The fact that one takes on a kind of second nature in Paris, that moreover preoccupations with business and art make one less strong than the peasants, doesn’t prevent one, through the bonds of having wife and child, from reattaching oneself all the same to that simpler and truer nature whose ideal sometimes haunts us. What a business, that Secrétan sale.
It always pleases me that the Millets are holding their own.

(Note: Various Millets were sold at the Secrétan auction: the paintings, The angelus [1697], and Returning from the fountain, and the pastels Peasant watering two cows, and The shepherdess. They sold for 553,000 francs (to the State), 20,600, 26,000 and 25,200, respectively)

But how I would like to see more good reproductions of Millet. So that it can reach the common folk. The body of work is above all sublime considered as a whole, and it will become more and more difficult to form an idea of it when the paintings are dispersed.
I’m sorry not to be able to add the Wheatfield with the reaper to this consignment.
Write me a line soon.
Handshake to you and Jo.

Ever yours,
Vincent

"Illusions may fade, but the sublime remains.”
― Vincent van Gogh

"Beauty is truth, truth beauty,' - that is all ye know on earth, and all ye need to know."
―John Keats

"I was really too honest a man to be a politician and live."
―Socrates


Later, Namaste, me.
_________________
Patricia.

"Hell is empty and all the devils are here."
―William Shakespeare

[genziana]

Capitano, serena estate tra i girasoli!

_________________

[mayte]

Caro capitano! A pochi giorni di quell'inaugurò del tuo prossimo successo, ti mostri cauto e riservato, misurato, pudico con questo nuovo lavoro .
Ti mostri prudente e come sempre senza volere anticipare avvenimenti, benché sia sicura che hai la certezza che sarà un successo totale Mi piace ed ammiro la passione e consacrazione che metti in ogni lavoro che intraprendi, la tua consegna al massimo e la capacità di essere avvolto in tanti progetti contemporaneamente, sei un súper uomo non mi stanco di dirtelo.

Ammirato Ale, non tutto è lavoro verità? Ci sono anche momenti di ozio dove liberare e rilassare la mente te lo meriti e più alle porte dell'esordio.

Um buon cocktail, amici ed un poema di un grande tra grandi.

Nuda è la terra, e l’anima
ulula contro il pallido orizzonte
come lupa famelica. Che cerchi,
poeta, nel tramonto?

Amaro camminare, perché pesa
il cammino sul cuore. Il vento freddo,

e la notte che giunge, e l’amarezza
della distanza… Sul cammino bianco,
alberi che nereggiano stecchiti;

sopra i monti lontani sangue ed oro…
Morto è il sole… Che cerchi,
poeta, nel tramonto?

ANTONIO MACHADO

CON TUTTO IL MIO AMORE E RISPETO, CI VEDIAMO PRESTO,

Mayte
_________________

[PATRICIA 22]

Alessandro, this is the second letter that Vincent van Gogh wrote to his brother on the same day as the letter I posted yesterday.

From: Vincent van Gogh
To: Theo van Gogh
Date: Saint-Rémy-de-Provence, Sunday, 14 or Monday, July 15, 1889

My dear Theo,
If I’m writing to you again today it’s because I’m enclosing a few words that I’ve written to our friend Gauguin,

(Note: This letter (with letter sketch) to Gauguin is not known. Gauguin thanked Theo around mid-August 1889 for sending it: ‘I am very happy with your kind letter, and your brother’s. He is better, but it’s very relative, because having the strength to fight against his illness he is able to withstand it for a long time and yet to have relapses, like the intermittent fevers that are the hardest to cure. I shall write him a reply to his letter’ In August 1889, Gauguin wrote to Bernard about the present letter: ‘Vincent has written to me, and sends you his regards. He’s assessing his state of illness, and I’m very much afraid it will last a long time. He’s still in the hospital’)

feeling sufficient calm return to me these last few days for my letter not to be absolutely absurd, it seemed to me. Besides, there’s no proof that by over-refining one’s scruples of respect or feeling one thereby gains respectfulness or good sense. That being so, it does me good to talk with the pals again, even if at a distance. And you – my dear fellow – how are things, and so write me a few words one of these days – for I can imagine that the emotions which must move the forthcoming father of a family, emotions of which our good father so loved to speak, must be great and of sterling worth in you, as in him, but for the moment are almost impossible for you to express in the rather incoherent mixture of the petty vexations of Paris. Realities of this sort must anyway be like a good gust of the mistral, not very soothing, but health-giving. As for me, it gives me very great pleasure I can assure you, and will contribute greatly to bringing me out of my moral fatigue and perhaps from my listlessness.

Anyway, there’s enough to bring back the taste for life a little when I think that I myself am going to be promoted uncle of this boy planned by your wife. I find it quite funny that she’s so convinced that it’s a boy, but anyway, we’ll see.
Anyway, in the meantime I can do nothing but fiddle with my paintings a little. I have one on the go of a moonrise over the same field as the croquis in the Gauguin letter, but in which stacks replace the wheat. It’s dull ochre-yellow and violet.

(Note: with sheaves and rising moon. The sketch in the letter to Gauguin was made after the painting Reaper)

Anyway, you’ll see in a while from now. I also have a new one with ivy on the go. (Note: Trees with ivy in the garden of the asylum)

Above all, dear fellow, I beg of you, don’t fret or worry or be melancholy on my account, the idea that you would do so, certainly in this necessary and salutary quarantine, would have little justification when we need a slow and patient recovery. If we manage to grasp that, we spare our forces for this winter. I imagine that winter must be quite dismal here, anyway will however have to try and occupy myself. I often imagine that I could retouch a lot of last year’s studies from Arles this winter.

Thus, having kept back these past few days a large study of an orchard which was very difficult (it’s the same orchard of which you’ll find a variation in the consignment, but quite a vague one), I’ve set to reworking it from memory, and have found a way better to express the harmony of the tones.

(Note: This ‘large study of an orchard’ which Van Gogh says he kept back (i.e. withheld from the consignment of paintings) was probably Orchard. The canvas in the consignment, Orchard in blossom with a view of Arles depicts the same orchard. He calls it a ‘variation ... but quite a vague one’, because it is not a derivative but a free variation on the motif.
Pickvance also identified this ‘large study of an orchard’ but said that this passage suggests that van Gogh made a second version of it, This work, however, is not considered authentic and was not included in the catalogues raisonnés. Moreover, by ‘reworking’ van Gogh must have meant ‘resume working on’ (namely the same work) and not ‘re-doing’ it in the sense of painting a second version.)

Tell me, have you received any drawings from me? I sent you some once, by parcel post, half a dozen, and then later ten or so.

(Note: Vincent had sent six drawings around June 18 and on July 2 another eleven.)

If by chance you haven’t received them, they must have been at the railway station for days and weeks.

The doctor was telling me about Monticelli, that he had always considered him eccentric, but as for mad, he had only been a little that way towards the end.

(Note: Before his appointment as medical director of the asylum at Saint-Rémy, Dr Peyron had worked as an eye doctor in Marseille; he might have known Monticelli personally, since the artist lived there for Monticelli’s last years)

Considering all the miseries of M’s last years, is it any surprise that he bowed beneath a weight that was too heavy, and is one right in trying to deduce from that that he failed in his work, artistically speaking? I dare to believe not. There was some very logical calculation about him, and an originality as a painter, so it remains regrettable that one wasn’t able to sustain it so as to make its blossoming more complete. I enclose a croquis of the cicadas from here.

Their song in times of great heat holds the same charm for me as the cricket in the peasant’s hearth at home. My dear fellow – let’s not forget that small emotions are the great captains of our lives, and that these we obey without knowing it. If it’s still hard for me to regain courage over faults committed and to be committed, which would be my recovery, let’s not forget from that moment on that neither our spleens and melancholies nor our feelings of good nature and good sense are our sole guides, and above all not our final custodians, and that if you yourself also find yourself facing hard responsibilities to venture, if not to take, my word let’s not be too concerned with each other, while it so happens that life’s circumstances in situations so far removed from our youthful conceptions of the life of the artist would render us brothers after all, as being companions in fate in many respects.

Things are so closely connected that here one sometimes finds cockroaches in the food as if one were really in Paris, on the other hand it can happen in Paris that you sometimes have a real thought of the fields. It’s certainly not much, but it’s reassuring anyway. So take your fatherhood as a good fellow from our old heaths would take it, those heaths that remain ineffably dear to us through all the noise, tumult, fog, anguish of the towns, however timid our tenderness may be. That’s to say, take your fatherhood there, from your nature as an exile and a foreigner and a poor man, henceforth basing himself with the poor man’s instinct on the probability of the real existence of a native country, of a real existence at least of the memory, even while we’ve forgotten every day.

Thus sooner or later we find our fate. But certainly for you, as well as for me, it would be a little hypocritical to forget completely our good humour, the confident sloppiness we had as the poor devils we were as we came and went in that Paris, so strange now – and to place too much weight upon our cares.

Truly, I’m so pleased with the fact that if sometimes there are cockroaches in the food here, in your home there is wife and child. Besides, it’s reassuring that Voltaire, for example, left us free to believe not absolutely all of what we imagine. Thus while sharing your wife’s concerns about your health I’m not going so far as to believe what momentarily I was imagining, that worries about me were the cause of your relatively rather long silence in respect of me,

(Note: Theo’s last letter dated from June 16)

although this is so well explained when one thinks of how preoccupying a pregnancy must necessarily be. But it’s very good and it’s the path where everyone walks in life. More soon, and good handshake to you and to Jo.

Ever yours,
Vincent.

In haste, but didn’t want to delay sending the letter for our friend Gauguin, you must have the address.


"Honesty is the first chapter in the book of wisdom."
―Thomas Jefferson

"The Medici created and destroyed me."
―Leonardo da Vinci

"The most beautiful things in the world cannot be seen or even touched, they must be felt with the heart."
―Helen Keller

Talk to ya later Preziosi, Aloha! me.
_________________
Patricia.

"Hell is empty and all the devils are here."
―William Shakespeare

[Pamelina]

In bocca al lupo Alessandro!!!!

[PATRICIA 22]

Alessandro, this is Theo's response to the last two Vincent van Gogh letters I posted.

From: Theo Van Gogh
To: Vincent Van Gogh
Date: Paris, Tuesday, July 16, 1889

My dear Vincent,
I was absolutely incapable of writing to you earlier, the heat was overwhelming, and I felt so weak that everything tired me out extremely. Now I’m more or less recovered, for good I hope. I thank you very much for your letters and for the beautiful drawings you sent.

(Note: Vincent had sent six drawings around June 18 and on July 2, another eleven)

The Hospital at Arles (Note: The courtyard of the hospital) is very remarkable, the Butterfly (Note: Giant peacock moth) and the Eglantine branches (Note: must mean the drawing of periwinkle) are really beautiful too: simple in terms of color and really beautifully drawn. The latest drawings look like they’ve been done in a fury and are a little more distanced from nature. When I see one of these subjects in a painting I’ll understand them more.

(Note: Theo is referring to the second consignment, which consisted of drawings after paintings Vincent was working on)

I’ve had several people to see your paintings. The Pissarros,

(Note: Camille Pissarro and his son Lucien.)

père Tanguy, Werenskiold, a Norwegian who has a lot of talent and who got the medal of honour in his country’s section at the World Exhibition,

(Note: the 1889 World Exhibition in Paris, the Norwegian painter Erik Theodor Werenskiold was represented by the works Deux frères (Two brothers), Grande mère (Grandmother), Paysage (Landscape) and Enterrement à la campagne (Burial in the country). He received the ‘Grand Prix’ for the last painting, Peasant burial, 1885)

and Maus. The latter is the secretary of the Vingt in Brussels. He came to ask if you would exhibit at their next exhibition.

(Note: The seventh exhibition of Les Vingt was held in Brussels from January 18 to February 23, 1890. Works by the 19 members of the society were augmented by the work of 18 other ‘invited artists’: Eugène Boch, Paul Cézanne, Alexandre-Louis-Marie Charpentier, Albert Dubois-Pillet, Louis Hayet, Xavier Mellery, George Minne, Lucien Pissarro, Odilon Redon, Auguste Renoir, Louis Oscar Roty, Giovanni Segantini, Paul Signac, Alfred Sisley, Charles Storm van 's Gravesande, William Thornley, Henri de Toulouse-Lautrec and Vincent van Gogh.)

(Note: van Gogh exhibited six works: ‘Tournesols’ (Sunflowers in a vase), 'le lierre’ (Trees with ivy in the garden of the asylum), 'verger en fleurs (Arles)’ (Orchard in blossom with a view of Arles, ' champ de blé; soleil levant (Saint-Rémy)’, (Wheatfield at sunrise and ‘la vigne rouge (Mont-Major)’, (The red vineyard)

There’s still time, but he didn’t know if he’d be coming to Paris beforehand. I told him that I thought you wouldn’t have anything against it. He’ll probably invite Bernard as well. People generally like the Night effect (Note: Starry night over the Rhône) and the Sunflowers.

(Note: Theo probably means Sunflowers in a vase which Vincent found suitable to exhibit)

I’ve put one of the Sunflowers on the mantelpiece in our dining room. It has the effect of a piece of fabric embroidered with satin and gold, it’s magnificent.

(Note: The version of the sunflowers that hung above the fireplace at Theo and Jo’s (and later on, in Jo’s house), was probably Jo did not lend this version out to exhibitions until 1901.)

As from the 15th of this month I no longer have the rue Lepic apartment, and as it was absolutely impossible to store all the canvases at our place, I’ve rented a small room in père Tanguy’s house where I’ve put quite a few of them.

(Note: To rent this little room, Theo paid Tanguy 30 francs on October 15, 1889, February 4, 1890 and April 27, 1890)

I’ve made a choice of those which are to be taken off the stretching frames and then we’ll put others on them. Père Tanguy has already given me a lot of help, and it’s going to be very easy to let him continually have new things to show. You can imagine how enthusiastic he is about coloured things like the Vineyards,

(Note: The green vineyard and The red vineyard)

the Night effect, etc. I’d very much like you to be able to hear him sometime. I also forgot to say that De Haan has been here, he sent Jo a monster bouquet of poppies of all colors, never had I seen such a beautiful bouquet, and the rain of multicolored leaves when they were beginning to drop their petals. He very much likes what you’re doing. He’s now with Gauguin. Isaäcson is all at sea now that De Haan is no longer there. I don’t know what he ought to do, but what he’s painting is poor! He talks about art better than he does it.

(Note: Isaäcson published art reviews in the Dutch journal De Portefeuille)

Gauguin is writing in a newspaper, which I’m sending you.

(Note: Paul Gauguin, ‘Notes sur l’art à L’Exposition Universelle’, appeared in two parts in Le Moderniste Illustré: on July 4, 1889 and on July 13, 1889. In the first part, Gauguin voiced fierce criticism of the organization of the World Exhibition, which allowed only established academic artists to display their work and refused to give independent, innovative artists their own exhibition space. In the second part of his article he discusses the statues and ceramics on display; in a footnote the editor (or Gauguin himself?) expresses his surprise at the fact that Gauguin’s ceramics, which were earlier exhibited at Theo van Gogh’s, were not to be seen at the exhibition.)

He wrote to me last week and asked me to give him your address, which he’d lost. De Haan was saying that Gauguin has done some very fine things. You were unlucky when you went to Arles not to find Mr Salles, or Rey either. I’ve had a letter from the former. He’s at a little seaside place. Before receiving your letter in which you say to send him the Pilgrims at Emmaus I’d sent him the Angelus, lithograph by Vernier. I regret not having thought of the other subject, for it would have been rather more to his taste.

You can imagine how the news that Jo is pregnant excited her parents.

(Note: Jo’s parents were Hendrik Christiaan Bonger and Hermine Louise Bonger-Weissman.)

Her father and mother are going to come here next week. Ma is also very pleased. It’s very true what you say, that her letter’s remarkable for her age.

(Note: Vincent said this about the letter he received from their mother, who was nearly 70; Vincent had forwarded this letter to Theo)

Yes, certainly it’s good that I’ve got married, for if it hadn’t been done I think I would be really ill now, while I think that now I’m going to regain strength and that I’ll be able to work a little better than I have done. Jo is really good to me, and yet she’s had some really bad days with vomiting etc., now it seems to be calming down and she looks well. If only the child is viable. I think that children generally inherit their parents’ kind of constitution rather than the latter’s state of health at the moment when they made it.

Andries Bonger would very much like to have a child, but it doesn’t come. His wife has a very difficult nature,

(Note: Andries Bonger was married to Annie van der Linden. Jo and the rest of the Bonger family did not get along very well with her, and even Andries did not seem very happy with her. As early as September 12, 1888, he wrote to Jo in a bitter tone: ‘She is hopelessly apathetic. Sometimes I think she spent years lying on top of a marble tomb. Sadly, we do not seem to cheer each other up’)

and they have a lot of trouble getting by on the money he earns. Their household is far from cheerful. Yet his wife isn’t just anybody, but they can’t manage to see eye to eye. We don’t see them often, as they live very far from our place.

(Note: Andries and Annie lived at 127 rue du Ranelagh in Passy, on the west side of Paris.)

I’ll finish my letter in haste. Enclosed is a postal order, for as you didn’t find Mr Salles you may need something.

(Note: Vincent had written that he would be receiving money from Salles.)

Warm regards, from Jo as well, and thank you very much again for your kind letters and the drawings.

Yours,
Theo


“I think that I still have it in my heart someday to paint a bookshop with the front yellow and pink in the evening...like a light in the midst of the darkness.”
― Vincent van Gogh

"Such as we are made of, such we be."
― William Shakespeare

"Plato is dear to me, but dearer still is truth."
― Aristotle


Later, Aloha! me.
_________________
Patricia.

"Hell is empty and all the devils are here."
―William Shakespeare

[genziana]

https://youtu.be/NegGej255V8?t=1m58s

www.askanews.it/video/2017/06/14/beckett-mamet-cerami-e-cast-all-star-per-terza-stagione-eliseo-20170614_video_18351047/


Roma, Teatro Eliseo presenta la grande stagione teatrale 17/18

dal 13 febbraio al 4 marzo 2018 “Van Gogh”, thriller psicologico di Stefano Massini, nel quale si vede il pittore, che ha il volto di Alessandro Preziosi, in temporaneo isolamento in manicomio.


_________________