Word: francescas
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That deadline arose out of De Laurentiis' passion for the picture, an obsession that came upon him suddenly one morning a couple of years back, when he still had his headquarters in New York. It was Dino's duty to awaken his daughter Francesca, then 15, to get her off for school, but as often as he performed that task he failed to notice the old movie poster in her room. Then one morning he had to return a second time to shake her into wakefulness, and that was the day he saw the poster-which advertised...
...their function, are extremely beautiful as sculpture. One is an angel from the cathedral of Vetralla, carrying relics of St. Andrew. Made in the early 15th century by the Viterban goldsmith Pietro di Vitale, it has a severe columnar air that distantly suggests the figures of Piero della Francesca...
...Donna Francesca (Lucia Bose), the wife of the hospital director; Bianca (Marthe Keller), a nurse; and Carla (Barbara Bouchet), who is married to a member of Bonaccorsisi's staff. Other, lesser men may thirst for a glimpse of the world out side, but the asylum is sufficient for the doctor, who spends his time between rounds and beddings in the laboratory trying to isolate "the germ of schizophrenia." It is clear he has been inside the walls too long...
...this command over pigment. His typical setting is familiar: an anonymous oval room. It has tubular furniture, somewhere between a Corbusier couch and an operating table. Sometimes a bare bulb hangs down on its cord from the ceiling. It looks both sadistic and as ideal (almost) as Piero della Francesca's suspended egg. The people in the room are also familiar. Sometimes they are anonymous figures, writhing and grappling. The rest are portraits of himself and his friends: George Dyer, Isabel Rawsthorne, the artist Lucian Freud. "Who," Bacon once half-jokingly asked, "can I tear to pieces...
Loss and Lobotomy. It was news to lock any art lover's spine with outrage. Raphael and Piero? Ever since Piero della Francesca was "resurrected" in the late 19th century, he has been to many people the epitome of 15th century thought: the great artificer of volume and silvery space, the very essence of the relationship between mathematics and nature in which the quattrocento's self-image was rooted. No Renaissance painter has spoken more eloquently to the 20th century than Piero, with his vision of a sublimely abstract order dwelling in a thicket of concrete and manifest...