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Alberto Martini "The charms of the past." The World of John Bertacchi 1

              

                                                               Cover Alberto Martini

world Bertacchi John is a book that matches in progress on line John Bertacchi Libroweb . And as it finds its necessary accommodation in a printed anthology. Aspects being compared, usually called the front matter, namely images, documents, curiosities and photos about the poet of the Canzoniere in support of the Alps of his poetic production as well as demonstrating how to Chiavenna and Valtellina, thanks to the school, the poet is remembered and spread by inventing a wild sort of regional handbooks. Need to know about Italian literature Dionisotti as previously hoped. Claudio Di Scalzo discalzo@alice.it

THE POET AND PAINTER ALPINE DANDY

Bertacchi John had a fruitful relationship with the publishing industry, at least until when fascism and its totalitarian control strategies not otherwise imposed, and bears witness to the cover of the spells of the past (1905): the story in verse of the poet is drawn from one of the greatest Italian painters and engravers of European symbolism: Alberto Martini. Which will also have a fine career as a painter, echoing, in advance, surrealistic themes. It seems that Martini was often visiting the Palace Vertemate. Here, a chapter on rebuilding would be this: Martini Valchiavenna and maybe its relationship with Bertacchi if there were or whether the picture was just an idea of \u200b\u200bthe publisher.

Alberto Martini (Treviso 1876 - Milan 1954). Engraver and painter. Determining the study of Dürer. Its graphics: drawing, etching, ex libris, pictures, had the greatest moment of fame when it was poured in the relationship with Extraordinary Stories of Edgar Allan Poe (1905-1908). And with the holidays Galanti of the French poet Verlaine (1911). The World Martini was in no way linked to the symbolist and decadent season. In his works, it always appears the mysterious ambiguity of reality. Even the cover refers to this vocation. Making decadent but rather, in the verses of Bertacchi, is simply sad and humanitarian vocation. In 1928, Arturo Martini moved to Paris. Associated with Breton artists will attend but will not adhere to the surrealist movement. In 1934 he returned to Milan and lived there until his death apart.

Alberto Martini: Self