Fiano, Deconstructivism and Cubism, or as three fans found themselves talking about art and philosophy, inebriated by the aromas of a wonderful Fiano.
Ipse dixit: a beautiful woman
We were still in Montefredane that Thursday, a hundred meters or so from the vineyards of the Puorro – De Benedetto family, with the car moving along the provincial road, in irection of the Avellino Est motorway junction.
We were returning home after the wonderful tasting of Fiano di Avellino DOCG Ventitré Filari, the Rosa Puorro’s winery that produces this wonderful, iridescent, nectar. A tasting made with the wise guidance of the owner, who asked us “to be strict” in our judgment.
The friend sitting on my left and holding the steering wheel, at a certain point and with a firm voice, began to illustrate to we other two colleagues, the image that poetically came to mind after tasting that wine. The one we had been offered in combination with a cut of cured meats, cheeses and quince jam.
“A beautiful woman who slowly reveals herself“, he said. That was the figure that Fiano Ventitré Filari had inspired him. Because, just like a beautiful woman who decides to show herself after having appeared to the bystanders covered by a veil that made her temporarily invisible, so the Fiano expertly oxygenated by a few minutes of contact with the Montefredanese air, had left completely known .
That image led me directly to the memories of youth, to the history of art, to the fascination that at that time Picasso inspired me.
Then I remembered the fact that Picasso represented a deconstructed reality on canvas. If Renaissance painters portrayed reality as they saw it, the Spanish painter painted reality as it was composed of multiple fragments.
Every “cube”, to use the term that Henri Matisse gave to the paintings of the cubist Braque, precursor of Picasso, was one of the innumerable angles through which the world appeared to us. There is no longer a single point of view, as has always happened, but there are hundreds or hundreds of thousands.
So why not to choose a painting, this time? A woman, maybe. A woman represented according to the picassian look of reality decomposed in many small parts. After all, the apparent incomprehensibility of the newly opened Fiano of Rosa left space to a tons of emotions, when that nectar finally oxygenated.
Picasso was just like that: incomprehensible to the profanes. But he was clear to those who understand the meaning of his painting. That’s why his artistic reach was exceptional. After twenty centuries of paintings with a single point of view, a Spanish painter overturned all the canons of representation.
It was the same concept as the unveiled woman of those who had inspired our thoughts. A woman who could only be Dora Maar.
Dora Maar: who was that woman?
Photographer, painter and poet, Dora Maar was the lover of Picasso. He anticipated the canons of surrealism and was morbidly linked to the Spanish painter.
Seduced by the brilliant painter, he wanted to reveal with his shots the strangeness of the contemporary.
Portrayed in various forms by the Spanish master, the work that most of all defines it is “Dora Maar seated”, where the woman appears with its angular shapes and her checkered woman.
Dora died in 1997, after living for fifty years alone, linked to the memory of the one who, madly loved, left her, letting her sink into depression.
The work is exhibited in Paris at the Picasso Museum.