Pliny the Elder in his ´Natural History` describes the contest between two exceptional greek painters, Zeuxis and Parrhasius: the former painted grapes so realistic that birds tried to pick at them but the latter managed to deceive the trained eye of Zeuxis (Ζεύξις) himself who tried to open the curtain painted by Parrhasius (Παρράσιος) thinking it contained the painting. This mythical episode acknowledges the key role that painting has played in the intriguing relationship between reality and simulation, intended to fool the observer into thinking that what is before him is real. I think that, always, the aim of art has been to reveal the useen reality of any world. By trying to fool the observer, art declares that what it offers is more real than reality. But then, only one thing is more real than the always doubted reality. Death. Could it be that finally even with art, all that we humans try to dο, is to fool death.? In european painting after the 16th century lots of works remind us that this is vain, the world is vain. They contain a sculp along with meditating caracters. These works are called ´vanitas` after the latin proverb ´vanity of vanities, everything is vanity` which resets the real perspective in life. Anyway, meanwhile lets not forget to work, love and live with others happily. In Robert Schumann´s first sonata, an extenuating work, we find the meditative aria that seems to perfectly accompany this mood. Schumann wants no passion in the rendition of the aria, but when Liszt heard the work declared that lots of passion is to be expressed. I prefer sober renditions. Most music lovers know that Claudio Arrau has offered us his reading of the complete Robert Schumann´s piano opus. A major achievement. And another Phillips recording which will be identified by YT filters as Sony´s property...setting me in trouble...Anyway, this is a wonderful rendition of the score. A lot of the presented paintings in the video were shown at the exhibition ´Art and Illusions, masterpieces of Trompe l´Oeil from antiquity to the present Day`, curated by Annamaria Giusti in Florence, Palazzo Strozzi, october 2009-january 2010. Lucio Fontana, concetto spaziale, attesa, waiting, 1966 Pieter Claesz, still life, 16th cen. Philippe de Champaigne, vanitas still life, 17th cen. Cornelis Norbertus Gijsbrechts, vanitas still life, after 1670 Domenico Remps attr., Scarabattolo, cabinet of curiositites, 17th cen. Georges de La Tour, Marie Madeleine, ca.1640 Domenico Fetti, Allegory on melancholy, ca.1621 Caravaggio, St Jérôme, 1606 Hans Holbein the younger, the ambassadors, 1533 René Magritte, la reproduction interdite, 1937 Gerrit Dou, self portrait, 1658 Cornelius Norbertus Gijsbrechts, painter´s studio, wall with vanitas, still life, 1664 Franciscus Gijsbrechts, vanitas still life, second half 17th cen Georg Hinz, cabinet with precious objects, 1665-7 C. N Gijsbrechts, painters studio, wall with vanitas 1668 Georg Hinz, cabinet of curiosities, 1666 Barthel Bruyn, vanitas, 16th cen. James Turrell, 2002, hologram Enjoy.
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