{"id":2132,"date":"2015-05-20T17:07:39","date_gmt":"2015-05-20T17:07:39","guid":{"rendered":"http:\/\/primolevicenter.org\/printed-matter\/?p=2132"},"modified":"2015-05-20T17:10:05","modified_gmt":"2015-05-20T17:10:05","slug":"carlo-levis-visual-poetics-the-painter-as-writer","status":"publish","type":"post","link":"https:\/\/primolevicenter.org\/printed-matter\/carlo-levis-visual-poetics-the-painter-as-writer\/","title":{"rendered":"Carlo Levi’s Visual Poetics: The Painter as Writer"},"content":{"rendered":"
\nGiovanna Faleschini Lerner, Carlo Levi's Visual Poetics: The Painter as Writer<\/em>, Palgrave Macmillan 2012<\/a>\r\n\t \t\t
Giovanna Faleschini Lerner is an assistant professor of Italian at Franklin & Marshall College. She is a scholar of twentieth-century Italian literature and cinema.<\/div>\n<\/div>\n

What does it mean for a painter to remain a visual artist even as a writer? Carlo Levi’s Visual Poetics engages this question through a critical re-examination of one of the most influential Italian intellectuals of the twentieth century. Reading Levi’s major texts through the lens of his philosophical and critical essays, the author explores the ways in which the productive dialogue between word and image inherent in his works becomes an instrument of literary and political subversion and contributes to the development of Levi’s original humanistic cultural program.<\/p>\n

From the Introduction<\/p>\n

Carlo Levi\u2019s New Humanism<\/em>
\nLa decadenza e l\u2019astrattismo non esprimono pi\u00f9 nulla di vivente. Le strade\u00a0<\/em>dell\u2019arte sono aperte agli uomini che esistono per la prima volta e non\u00a0<\/em>possono non dare vita a un\u2019arte classica e realistica. In questo senso, che\u00a0<\/em>\u00e8 il senso della storia, della comune esperienza fraterna di infiniti uomini,\u00a0<\/em>parliamo di nuovo umanesimo.\u00a0<\/em>Decadence and abstraction no longer express a living experience. The paths of art\u00a0<\/em>have opened up to those who exist for the first time, those who can only generate a\u00a0<\/em>classical and realist art. In this sense, which is the sense of history, of the common\u00a0<\/em>fraternal experience of infinite people, we speak of a new humanism.\u00a0<\/em>\u2014 Carlo Levi, \u201cSul nuovo umanesimo\u201d1<\/p>\n

 <\/p>\n

As a writer, politician, painter, and physician, Carlo Levi was one of the great figures of twentieth- century Italian intellectual life, incarnating, as Simone de Beauvoir once wrote, the humanistic ideal of the learned man, \u201cl\u2019uomo di cultura\u201d (276). His ambitious program amounted to no less than the construction of a new humanism, founded upon \u201cuna riscoperta dell\u2019uomo come unit\u00e0 e come rapporto\u201d [\u201cthe rediscovery of man as unity and rapport\u201d] (Levi, \u201cSul nuovo umanesimo\u201d 80). Levi used the term umanesimo with keen awareness of its relevance in the philosophical and political debate of his time. He consciously refused, however, to attempt a definition or philosophical discussion of the meaning and theoretical value of neohumanist tendencies.<\/p>\n

Levi\u2019s unwillingness to give a clear definition of umanesimo is characteristic of his critical writing, which is fraught with gaps and contradictions and lacks the rigor of systematic philosophical thinking. Rather, his ideas are forged within a constant intellectual \u201cconversation\u201d3 with the most important figures of European cultural life. Rather than fitting into one philosophical system, Levi\u2019s thinking can best be understood in dialogic terms\u2014 in the Bakhtinian sense of the word. In his theoretical writings, he privileges inclusion rather than systematization and exclusion, seeking to establish forms of coexistence\u2014 rather than coherence\u2014 among contradictory elements.<\/p>\n

It is in light of\u00a0these considerations that we should approach Levi\u2019s umanesimo, as a key to understand his lifelong work as a writer, an activist, and an artist. Levi belonged to a well- established Jewish- Piedmontese family, who boasted among its members one of the founders of Italian socialism, Claudio Treves. Faithful to the family tradition of impegno, Levi himself was intensely involved in the antifascist circles of Piero Gobetti, often writing for journals like Rivoluzione liberale and, later, Carlo Rosselli\u2019s Giustizia e Libert\u00e0.<\/p>\n

Although he held a degree in medicine, he preferred to devote himself to painting, beginning to exhibit his work in the late 1920s with a group of fellow- Turinese artists, \u201cI Sei di Torino.\u201d4 As Levi wrote more than thirty years later, this small creative companionship proposed itself as an alternative to \u201ci falsi miti novecenteschi, gli arcaismi, i populismi totalitari, le mistificazioni moderne della retorica e dell\u2019accademia e dell\u2019attivismo e vitalismo futurista\u201d [\u201cthe false myths of the Novecento, the archaisms, the totalitarian populism, the modern mystifications of rhetoric and academia and of futurist activism and vitalism\u201d] (Levi, \u201cI Sei di Torino\u201d).<\/p>\n

For Levi and his friends, art was a form of active resistance to the rise of Fascism and its cultural politics.<\/p>\n

Hence art and politics were inextricably linked, particularly for Levi, who exploited his frequent visits to Paris, justified by his painterly activity, to maintain the contacts between the Turinese cells of the antifascist movement and the Italian political exiles.<\/p>\n

Paris was the fundamental cultural point of reference for \u201cI Sei,\u201d whose members looked to France and to its new artistic trends in their search for \u201cun linguaggio pittorico di libert\u00e0\u201d [\u201ca pictorial language of freedom\u201d]. When in Italy even the most important maestri boasted that they had never been to the French capital, \u201cI Sei\u201d aspired to a \u201cEuropean\u201d and \u201cmodern\u201d form of art, a notion that was \u201cdi per s\u00e9 un\u2019opposizione totale in tempo di Tribunali speciali, di autarchia, di romanit\u00e0, di corporazioni e di \u2018900\u201d [\u201cin and of itself a complete opposition, during the time of special tribunals, autarchy, romanit\u00e0, corporations, and Novecento\u201d].<\/p>\n

Levi\u2019s frequent Parisian stays before the outbreak of World War II, as well as his active engagement in leftist politics, allowed him to become acquainted with some of the most prominent artists and thinkers of his time.7 Among the Italian intellectual influences that shaped Levi\u2019s philosophy, Piero Gobetti played a central role. Levi writes, \u201cScrivere di Piero Gobetti, significa, per noi della nostra generazione, fare della autobiografia; rivedere i dati e i motivi stessi della nostra formazione morale e politica\u201d [\u201cWriting about Piero Gobetti is, for those of us who were his contemporaries, tantamount to write autobiographically; it means to reconsider the facts and the reasons of our moral and political education\u201d].<\/p>\n

Despite his short life, Gobetti left indelible marks on the political consciousness of many Turinese contemporaries, from Leone Ginzburg\u00a0to Natalino Sapegno and Carlo Levi. In turn, Benedetto Croce, Gaetano Salvemini, and Luigi Einaudi were fundamental to Gobetti\u2019s own formation. Gobetti admired Croce\u2019s resistance to the deterministic approaches of nineteenth- century positivism and his faith in the individual\u2019s potential for creativity.<\/p>\n

From Croce he also learned the passion for a humanistic totality of vision that Levi considers the most attractive and singular feature of Gobetti\u2019s intellect.\u00a0Gobetti read avidly and absorbed anything of value that contemporary manifestations of Italian culture could offer. His desire for a unifying cultural perspective, as well as his energy and drive, were charismatic for many budding intellectuals, who surrounded him in a free school of selfeducation characterized by a constant exchange of ideas and strong intellectual friendships.<\/p>\n

Politically, Gobetti embraced a liberalism that encouraged creative forms of political action, involving the popular masses in active and autonomous historical agency. Never a Communist, he nonetheless admired Antonio Gramsci and his work with the factory councils in Turin, which he saw as proof of the leading role that the industrial working class must take to effect political reform. His liberalism implied a passion for freedom and autonomy in its broadest terms and was thus naturally opposed to fascism, which for Gobetti was \u201cl\u2019ultima e pi\u00f9 totale espressione dell\u2019incapacit\u00e0 alla libert\u00e0 degli italiani\u201d [\u201cthe ultimate and most complete expression of the Italian inability to be free\u201d].<\/p>\n

In this respect, he departed from Croce\u2019s understanding of fascism as a temporary national illness and claimed instead that Mussolini\u2019s form of totalitarianism was nothing but the \u201cautobiography of the Italian nation,\u201d the direct consequence of Italians\u2019 anxieties in the face of civic passion and responsibility.<\/p>\n

To the Italians\u2019 fear of freedom, Levi countered \u201c[l]a libert\u00e0, l\u2019aspro, consapevole sforzo di autonomia, [che] costituiscono l\u2019unit\u00e0 della figura di Gobetti, sia nella sua vita morale, sia nel suo pensiero, sia nella sua azione politica\u201d [\u201cthe freedom, the harsh, conscious effort to be independent (which) constitute the unity of Gobetti\u2019s figure, in his moral life, thought, and political action\u201d]\n

Like Gobetti, Levi rejected determinism and embraced a view of man as the center and subject of history in his search for freedom (Marcovecchio 100). In this sense, Levi\u2019s outlook is close to the idea of humanism proposed by another influential figure of European thought, Jean- Paul Sartre. Levi and Sartre met in Paris and remained friends for their entire lives.<\/p>\n

The French philosopher consistently recognized in Levi\u2019s work the same engagement with human existence that he proposed as the essence of existentialism as a form of humanism. According to Sartre, Levi\u2019s curiosity for human experience emerged from a passion for life that allowed him\u00a0to recognize the value of every lived experience. His multifaceted activity as a doctor, writer, and artist was motivated by the same respect for life that gave unity to his work as an intellectual and as a politician.<\/p>\n

Sartre\u2019s words about Levi parallel the French philosopher\u2019s argument in defense of existentialism in The Humanism of Existentialism. Despite existentialism\u2019s distrust of the positivistic optimism toward history and faith in progress, Sartre wrote, far from encouraging a withdrawal from social reality existentialist philosophy demanded of man a full engagement with the world, since \u201cman is nothing else than what he makes of himself\u201d.<\/p>\n

Man bears full responsibility for his own destiny and for the destiny of all humanity. It is the burden of this responsibility that generates the angst that existentialism recognizes as profoundly human. Rather than freezing man into inaction, however, this existential anguish pushes him toward a full engagement with life. Discussions about humanism were an essential part of postwar European philosophical debates. Particularly important was the querelle between Sartre and Martin Heidegger.<\/p>\n

In reaction to Sartre\u2019s representation of existentialism as a form of humanism\u2014 and his enthusiastic appropriation of Heidegger\u2019s thought\u2014 Heidegger published his own Letter on Humanism, in which he condemned the humanistic man- centered position as the worst crime of Western philosophy since Plato. In the letter, the German philosopher claimed that all the evils of the modern world, from capitalism to communism, derived from the humanistic \u201canthropologization\u201d of Being.<\/p>\n

Unlike Sartre, Heidegger stayed ostensibly clear of politics and political engagement. Indeed, \u201c[t]he language of the Letter extricates thought from action\u201d \u2014 a political statement in itself, as many readers have observed, which Heidegger conceived as a strategy to exonerate himself from his involvement with National Socialism since the early 1930s.<\/p>\n

Although Levi remained suspicious of what he perceived as Heidegger\u2019s dangerously irresponsible antihumanist relativism, his critical and theoretical writings resonate deeply with the philosopher\u2019s reevaluation of poetic language and art. In this introductory chapter I propose that, through his multifarious and even paradoxical discussions of umanesimo, Levi in effect delineates a productive middle ground between Sartre\u2019s and Heidegger\u2019s contrasting views of humanism. Levi\u2019s philosophy, as it emerges in his more theoretical works, is based on a reinterpretation of Giambattista Vico\u2019s thought\u2014 which, as Ernesto Grassi writes, represents the height of Italian humanism\u2014 and is rooted in a profoundly ethical concern for the Other that anticipates, in many ways, Emmanuel Levinas\u2019s \u201chumanism of the Other.\u201d<\/p>\n

I maintain that this concern for the Other lies at the core of Levi\u2019s intellectual project and that a careful examination of Levi\u2019s humanism opens new perspectives on his work as a painter and a writer. Copyright Palgrave McMillan 2010<\/em><\/p>\n

 <\/p>\n

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