Καλοκαίρι 1969, Ιταλία. Ένα χρόνο μετά τον Μάη του '68, οι εργάτες της ΦΙΑΤ ξεκινούν ένα δυναμικό και αδιαμεσολάβητο απεργιακό αγώνα ενάντια στην πανίσχυρη εργοδοσία. Ο αγώνας τους αποτέλεσε την απαρχή μιας δεκαετίας εργατικών και φοιτητικών κινητοποιήσεων όπου πρωταγωνίστησε το κίνημα της Αυτονομίας και που χαρακτηρίστηκε από πολλούς ως η τελευταία έφοδος της εργατικής τάξης στον ουρανό. Τελευταία... ας ελπίσουμε μέχρι την επόμενη...
Το έργο αυτό είναι λεπτομέρεια από τον διάσημο πίνακα The Arnolfini Portrait (1434) του Jon van Eyck. Δεν έχω δει ζωντανά τον πίνακα παρά μόνο φωτογραφίες του κι έτσι δεν μπορώ να είμαι σίγουρος για τη φωτεινότητα και τα χρώματα του. Έχω την εντύπωση (πέρα από τα σχεδιαστικά λάθη) ότι τα χρώματα της δικής μου εκδοχής είναι πιο φωτεινά και κορεσμένα απ' ότι θα 'πρεπε.
Λίγα λόγια για τον πίνακα (όλο το άρθρο εδώ):
The Arnolfini Portrait is an oil painting on oak panel dated 1434 by the Early Netherlandish painter Jan van Eyck. It is also known as The Arnolfini Wedding, The Arnolfini Marriage, The Arnolfini Double Portrait or the Portrait of Giovanni Arnolfini and his Wife.
This painting is believed to be a portrait of the Italian merchant Giovanni Arnolfini and his wife, presumably in their home in the Flemish city of Bruges. It is considered one of the most original and complex paintings in Western art history. Both signed and dated by Van Eyck in 1434, it is, with the Ghent Altarpiece by the same artist and his brother Hubert, the oldest very famous panel painting to have been executed in oils rather than in tempera. The painting was bought by the National Gallery in London in 1842.
The illusionism of the painting was remarkable for its time, in part for the rendering of detail, but particularly for the use of light to evoke space in an interior, for "its utterly convincing depiction of a room, as well of the people who inhabit it".
"The painting is often referenced for its immaculate depiction of non-Euclidean geometry," due to the image drawn on the round convex mirror hanging on the wall in the back of the room.
[...] The little dog symbolizes loyalty, or can be seen as an emblem of lust, signifying the couple's desire to have a child. The dog could also be simply a lap dog, a gift from husband to wife. Many wealthy women in the court had lap dogs as companions. So, the dog could reflect the wealth of the couple and their position in courtly life...
(source: wikipedia)
