Quando l’autore di un testo scrive di qualche cosa, di qualcuno o di un luogo, ha in mente immagini evocate dalla sua esperienza personale e con proprie parole le suggerisce al lettore. In chi legge, quelle parole evocano ulteriori immagini, anche diverse perché suscitate a loro volta da altre esperienze personali. L’illustratore è il medium che, grazie alla propria immaginazione più vasta ed esperta, aiuta il lettore nell’evocazione delle immagini, magari più efficaci e forse più vicine a quelle mentali dell’autore. Nulla assicura che siano tali, ma di certo esse ampliano le conoscenze e la fantasia. Il compito dell’illustratore letterario è, infatti, quello di immaginare situazioni ambientali e di elaborare atmosfere o scenari che, con riferimento al testo, arricchiscono e illuminano la narrazione. A tal fine egli ricorre a un distillato di testimonianze storico-scientifiche, ma anche di morfologie e di eventi, tratti dal suo personale serbatoio di informazioni, di ricordi e di invenzioni, che insieme concorrono a formare il quadro scenico della rappresentazione, spesso utile per costruirne il corrispondente immaginario collettivo. Un bravo illustratore “restituisce” a tal punto in termini visivi ciò che è stato evocato dall’autore del testo che diventa difficile, per i lettori, concepirlo diversamente. Ad esempio, dopo Gustave Doré i gironi dell’Inferno non possono che essere, nell’immaginario di tutti, quelli illustrati dalle sue incisioni. Paradossalmente, potremmo pensare che lo stesso Dante li abbia concepiti così, anzi che in un certo senso “siano” veramente così. Allo stesso modo i disegni di David Roberts, eseguiti a Londra al suo ritorno dall’Egitto, intorno alla metà dell’Ottocento, furono il sostegno figurato per l’immaginazione degli inglesi che all’epoca amavano fantasticare sulle rovine di quelle antichità millenarie, così come venivano intese dai turisti fin de siècle, vale a dire fortemente influenzate da una visione tardo-romantica. Se gli stessi luoghi e gli stessi contesti ambientali fossero illustrati oggi da artisti ugualmente abili, essi richiederebbero l’uso di riferimenti semantici diversi, adeguati a nuove convenzioni figurative

When the author of a text writes about something, someone or a place, his personal experience recalls images in his mind which he suggests to the reader in his own words. In the reader, those words evoke further images, even different, because they are in turn aroused by other personal experiences. The illustrator is the medium who, thanks to his wider and more experienced imagination, helps the reader in evoking images, perhaps more effective and closer to the author’s mental ones. Nothing guarantees that they are such, but they certainly expand knowledge and imagination. The literary illustrator, in fact, has the task of imagining environmental situations and developing atmospheres or scenarios that, with reference to the text, enrich and illuminate the story. To this end, he uses a distillation of historical-scientific evidence, but also of morphologies and events, obtained from his personal reservoir of information, memories and inventions, which as a whole make up the scenic framework of the representation, often useful for building the corresponding collective imagination. A good illustrator ‘returns’ to such an extent in visual terms what was evoked by the author of the text that it becomes difficult for readers to conceive it differently. For example, after Gustave Doré the circles of Hell can only be, in everyone’s imagination, those illustrated by his engravings. Paradoxically, we might think that Dante himself conceived them so, indeed that in a certain sense they really ‘are’ like them. Similarly, David Roberts’s drawings, executed in London on his return from Egypt, around the mid-nineteenth century, were the figurative support for the imagination of the British who, at the time, loved to fantasize about the ruins of those millenary antiquities, as they were understood by tourists fin de siècle, that is to say strongly influenced by a late-romantic vision. If today equally skilled artists illustrated the same places and the same environmental contexts, they would use different semantic references, adapted to new figurative conventions.

Testi illustrati, immagini descritte / Massari, Giovanna; Pellegatta, Cristina. - ELETTRONICO. - (2020), pp. 50-69.

Testi illustrati, immagini descritte

Massari, Giovanna;Pellegatta, Cristina
2020

Abstract

When the author of a text writes about something, someone or a place, his personal experience recalls images in his mind which he suggests to the reader in his own words. In the reader, those words evoke further images, even different, because they are in turn aroused by other personal experiences. The illustrator is the medium who, thanks to his wider and more experienced imagination, helps the reader in evoking images, perhaps more effective and closer to the author’s mental ones. Nothing guarantees that they are such, but they certainly expand knowledge and imagination. The literary illustrator, in fact, has the task of imagining environmental situations and developing atmospheres or scenarios that, with reference to the text, enrich and illuminate the story. To this end, he uses a distillation of historical-scientific evidence, but also of morphologies and events, obtained from his personal reservoir of information, memories and inventions, which as a whole make up the scenic framework of the representation, often useful for building the corresponding collective imagination. A good illustrator ‘returns’ to such an extent in visual terms what was evoked by the author of the text that it becomes difficult for readers to conceive it differently. For example, after Gustave Doré the circles of Hell can only be, in everyone’s imagination, those illustrated by his engravings. Paradoxically, we might think that Dante himself conceived them so, indeed that in a certain sense they really ‘are’ like them. Similarly, David Roberts’s drawings, executed in London on his return from Egypt, around the mid-nineteenth century, were the figurative support for the imagination of the British who, at the time, loved to fantasize about the ruins of those millenary antiquities, as they were understood by tourists fin de siècle, that is to say strongly influenced by a late-romantic vision. If today equally skilled artists illustrated the same places and the same environmental contexts, they would use different semantic references, adapted to new figurative conventions.
Linguaggi grafici: illustrazione
Alghero
Publica
978-88-99586-15-7
Massari, Giovanna; Pellegatta, Cristina
Testi illustrati, immagini descritte / Massari, Giovanna; Pellegatta, Cristina. - ELETTRONICO. - (2020), pp. 50-69.
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/11572/308931
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