Hunting the fleeing work of art
Copyright (c) 2019 Gregorio Botta
This work is licensed under a Creative Commons Attribution 4.0 International License.
In the Decameron Pier Paolo Pasolini chooses the role of the pupil helping Giotto, who is busy painting a fresco in a cathedral. When the work of art is nally complete, while the bells of the monks ring in celebration, Pasolini takes a look at it one last time and says: «Ma io mi chiedo: perché realizzarla, quando è così bello soltanto sognarla?» It’s the nal phase of the movie, and the line is acted by the director-actor acquiering, obviously, a meta-meaning: it’s true both for the completed painting as it is for the movie that has been shot, and has come to an end. It’s always true for every work of art. It’s true because often, the distance between the initial dream and its realisation is profound.