miscellanea

Timothy Verdon, 'Christ in European art', Mondadori Electa, 2006. pp. 36-42.

... 'The silent eloquence of signum crucis, for many centuries subject to the naturalism of the frescoes in Assisi and style that flows from them, echoes new in the last seventy years, of strong character abstract. Grasps the power in the comment of a contemporary painter, Filippo Rossi, in his 'Trittico della Misericordia', executed in 2005 (Fig. 27). "I wanted to create a work depicting the sacred and I immediately started thinking about the Crucifixion," writes the artist, explains that wanted to highlight a particular aspect of the theological theme, Christ crucified as an expression of God's mercy toward sinful man. Accurately indicates the reasons for his choice of a non-figurative language: "I wanted the cross itself, while clearly visible but not intrusive, but not immediately recognizable, what I seek in my work is in fact a request to stop before the image, so that the work, early fascinating colors and composition, will also buy 'sense' to a deeper reading. The triptych - 3 panels, each 60 x 120 cm "arises, therefore, in order to illustrate the immense mercy which Jesus Christ on Golgotha - the end of his sorrowful Passion" shows a thief. The scene refers to Chapter 23 verses 39-43 of Luke. Then, in words that echo Rabanus and logic of carmen figuratum, Rossi illustrates the relationship between matter and form in its depiction of the Word made flesh that is offered on the cross: "The key to interpreting this triptych is the single table in this case of wood, which in my work is often the soul of man. Roughness, created by more glue and paper tape, transmits the difficulties and anxieties, but especially the sin that surrounds the soul. Similarly, a polished surface, or carried out without the use of paper, denotes the mercy, the grace that God pours out on us humans. I tend to represent the Misericordia with the leaf of pure gold when it comes directly from the Lord and in the same color as gold moves away from its essence. " Finally - noting that in this work commissioned for a specific situation "I had to take into account the strong geometry of the room and the warm tones and rough around" - The artist tells of the religious meaning of her image is inseparable from the material from which it is formed: "We have Christ on the cross, in the central panel. More precisely, it is represented "in the form of 'Veronica' - its cost, which according to the Gospel, was born out blood and water as a source of mercy for us. The cross is the same Grace and Mercy that expands as the ' wave, to invade the two panels: the left panel, where the attitude of the unrepentant thief - crouched, folded on itself and turning its back on God's mercy - it creates the darkness inside him, preventing light to penetrate; and the right panel, where the good thief, admitting his sin, and be open to God's mercy and is immersed in the ocean of compassion that comes from the word of Christ: 'Today, you will be with me in Paradise!' (Luke 23 , 43). Now, while holding the primary concept of representation "that is, that the table represents the soul and its findings sin - we see that the thief on the left was definitely not 'bad': the machined surface is fairly flat, not much relief and not extensive with the board. However, it is dark brown tending to leather: a color mixed with mud, filthy with mud, which does not allow penetration of light (his greatest sin was to not to trust the mercy of God, become unable to see the true light just beside him.) The situation is reversed however in the right panel. The core is immersed in sin, was devastated: the paper has created grooves are impossible to resolve even one centimeter of the board is free of paper. But a miracle happens: the thief, recognizes his sin and opening confidently to Christ, is bathed in divine mercy that makes him instantly, completely permeated by the light. "