I think several times to document my work as an illustrator and cartoonist, with the margin notes or preliminary sketches.
To do the best for a project on Inferno of Dante "sharing" may be a further incentive to "survive" the idea for years to come.
not know how many ask to take the long-term maturities or use verbal or visual language to stimulate the minimum daily dose of creativity.
I chose to do so with the "Commedia" by Dante, with a totally personal way of reading and rereading the work of the master.
Without betraying the poetic content of the work and without making cuts or ruptures to the original text with graphics, scripts or abridged novel hit and run, we want to illustrate in comic form the great journey undertaken by a man made of flesh and moods.
when Dante descends into Hell to be more "worthy" comes down from the pedestal too wordy and boring that certain culture has taken to raise it or paint it over the years.
Especially in recent years was meant to entrench a conservative figure behind its more subtle, disguised as those of Benigni converted readings, without ever risking any experimentation.
To give long life to a product of culture as The Divine Comedy that is universally of all, no need to learn it verbatim from memory to display or use only the recordings of Dore. But chances with language and revisions which bring the work to contemporary culture.
Think of the old Dali in his clear insanity or the general Greenaway with his first eight cantos of the Inferno in the form of short copyright. In the comic
nazionalpopolare or someone in the industry calls "industrial", you can not get out of the cartoon. In my project, perhaps a bit 'crazy for length and amount of energy I want to leap all the visual languages \u200b\u200brelated to graphics and a bit' over the top all the styles of those artists that I have kept devouring comic books for twenty years. One out of every
Andrea Pazienza.
In the same product can coexist different expressions for the schizophrenic nature, omnivorous and destabilizing that makes the artist a "multitude" of people, authors and friends met in life. And his work an open work that can adapt to a multitude of further interpretations.
To do the best for a project on Inferno of Dante "sharing" may be a further incentive to "survive" the idea for years to come.
not know how many ask to take the long-term maturities or use verbal or visual language to stimulate the minimum daily dose of creativity.
I chose to do so with the "Commedia" by Dante, with a totally personal way of reading and rereading the work of the master.
Without betraying the poetic content of the work and without making cuts or ruptures to the original text with graphics, scripts or abridged novel hit and run, we want to illustrate in comic form the great journey undertaken by a man made of flesh and moods.
when Dante descends into Hell to be more "worthy" comes down from the pedestal too wordy and boring that certain culture has taken to raise it or paint it over the years.
Especially in recent years was meant to entrench a conservative figure behind its more subtle, disguised as those of Benigni converted readings, without ever risking any experimentation.
To give long life to a product of culture as The Divine Comedy that is universally of all, no need to learn it verbatim from memory to display or use only the recordings of Dore. But chances with language and revisions which bring the work to contemporary culture.
Think of the old Dali in his clear insanity or the general Greenaway with his first eight cantos of the Inferno in the form of short copyright. In the comic
nazionalpopolare or someone in the industry calls "industrial", you can not get out of the cartoon. In my project, perhaps a bit 'crazy for length and amount of energy I want to leap all the visual languages \u200b\u200brelated to graphics and a bit' over the top all the styles of those artists that I have kept devouring comic books for twenty years. One out of every
Andrea Pazienza.
In the same product can coexist different expressions for the schizophrenic nature, omnivorous and destabilizing that makes the artist a "multitude" of people, authors and friends met in life. And his work an open work that can adapt to a multitude of further interpretations.
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