VISUALITY IN GOLDFISH. FIGURATIVE ART AND PROSE ARTIST

Emilio Cecchi dedicated the years preceding the composition of Pesci rossi to a reflection which explored poetry as the organizer of verbal masses and the evoker of images, at the same time concentrating on an in-depth study of figurative art and art criticism, with Bernard Berenson as ideal intellectual guide. The type of essay the author introduced with Pesci rossi represents his new approach to the `thing seen', in which those reflections and studies unifying in a syncretic critical system inevitably find partial realization in the concept of visivitee. This study aims at exploring some selected Pesci, in order to find more or less implicit figurative debts, and furthermore the realization of those mechanisms of evoking/picturing which, in the author's opinion, poetry and art have in common. The analysis was conducted `essay by essay', so as to highlight the asystematicity of the literature-art contamination in Cecchi, but at the same time to demonstrate how much this concept shapes his whole aesthetic.