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The spirit of Civitella del Tronto SOUTH

The spirit of Civitella del Tronto

The fortress of Civitella del Tronto was taken to a betrayal by the terrorist scum Piedmont March 20, 1861, three days after the proclamation of the scam Italy, passed by the propaganda as d ' Italy, and more than a month after the departure of Francis II into exile and fall of Gaeta.Che sense had to continue to resist in such a context? What life lesson can we learn from the heroic resistance in the fortress of Civitella Napolitani closed del Tronto? Despite the invasion by the Kingdom of Sardinia to the Kingdom of the Two Sicilies and part of the Papal States without any declaration of war, both been condemned by all European countries except the United Kingdom, the public era was angry for what happened in Sicily, Napolitani, in the Marche and Umbria, but no military intervention. If it happened there was the First World War, an event that occurred 54 years later still. In addition, the outrage does not cost anything ... military intervention costs lives and military danaro.I Napolitani within the fort knew that nobody would intervene on their behalf, but fought for their ideals that they would be considered fair and sacrosanct from any other people that had been in the same situation. They defended their country is invaded in a criminal manner, and that suffered for several months with looting and crimes, the first effects of the invasion. They defended their identity since 1860 would have been trampled and destroyed not only physical genocide, perpetrated in the first years after 1861 but also with the cultural one. Up to 1861 all those who lived in Abruzzo, Basilicata, Calabria, Molise, Puglia, Terra di Lavoro, principalities and the province of Naples were proud to be Napolitani. Now thanks to this propaganda only those living in the province of Naples is still proud to say Napoletano others often or ashamed or even feel offended if called Neapolitan. They defended the right of self-determination. The people had suffered Siciliano Napolitano and intuition about what would went to meet with regime change, so they wanted to be governed by the enlightened Bourbon monarchy ensured that those human rights after 1861 were systematically violated. Francis II was an absolute monarch but unfortunately he was speaking Napolitano and Napolitano was while Vittorio Emanuele II nfrancesato who spoke French and did not even know a word of Italian. The reasons for the defenders of Civitella del Tronto Neapolitans were just and inviolable but were trampled by the violence of the criminal actions of the invaders, their greed and ambition that has prevailed 'in vranca' nfrancesate and stinking. These, our nineteenth compatriots in principle could not help but resist even if in vain to lose his life for shooting or finishing deported to concentration camps in Piedmont. They could surrender after the fall of Gaeta give us the lesson that the defenders of Civitella Napolitani means that an idea, especially if and inviolable right, must be defended against any calculation of cost and without failure, acting with spirit instead indipendentista.Oggi dominates the thinking and way of acting opposite, almost nobody in the world and often, even among the southerners (who are those Neapolitans and not because they lost their identity and dignity). Any new idea runs into trouble, do not you support us more, or takes the side of those most strong and successful just because they use illegal and immoral means is not suitable to our culture that has its roots in the greek-roman. This is also true for some southern and although he knew the real story, does not act accordingly, as did the defenders of Civitella Napolitani. An example of easy to understand: "How many southern support Juve, Inter Milan, or teams that have won the North and disloyalty with sports, being able to manage their companies with false accounting so you can always buy the best players?" Happy. Defenders of Civitella del Tronto would never rooted for one of three criminal associations stretched, but would support teams of their land which, unfortunately, fighting loyally against the dishonest, they can never win or get placed significant as the Naples, Bari, Lecce, Reggina, Pescara and so on. Only a few people still call themselves proudly and Napolitani, and we owe in part to the example of our compatriots who resisted Civitella from November 1860 until 20 March 1861. This is why these defenders of Napolitani Civiletella del Tronto be celebrated every March 20 but not only, but all the days following the example of a militant life time not only to defend the identity and the Sicliana Napolitana, but also to fight until ' last day to return to be independent of this scam was called Republic Italiana.E 'idea that pushes me to work independently and with the spirit, makes me all the days on the ramparts of Civitella del Tronto fully, as one of the successors of those defenders of the 1860-61 Napolitani Napolitani contemporaries like all those who truly want and believe in the independence of the Neapolitans.

Joseph Epomeo

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(C) Maria Cristina Baracchi. Any unauthorized use of this material and 'prosecution.

I PRIZE Portraiture

Title: Pope John Paul II

(Oil on canvas 40x50 cm - 2006)

TEXT OF WALTER BONI:

his portraits: What cabin oil portrait of the stresses in many of his writings (an activity which accompanies the artist is in the form of a diary of inner comment the works, so that the reading of its pages can be a valuable source of further developing its research work) is that it should not be a giant of depiction, it should not represent a "second life" but rather represent ' soul and temperament of the person portrayed, his life experience condensed into a canvas, and when the shot permits, she tries to make the mobile the look, so that it can interact with the viewer. Not so much skill then, the portrait, but rather by means of penetration to capture those elements that emerge as a mysterious backdrop, a "beyond the canvas" that is accessible to the observer attentive and able to establish a long line, not temporary and superficial, with the work of art. its communication The magnetism of the faces and bodies painted, beyond the immediate evidence of meaningful expression or seductive poses, capture our attention and leads us to questions, questions that gradually lead us to a dimension unconscious, or otherwise not immediately visible, the figure represented. Some feminine curves, for example, attract us immediately for their suppleness and sensuality, but then gradually lead us to a dimension of lightness and grace in which Eros, through the aesthetic dimension, is sublimated and is expressed in a kind of scenes' essence of desire. Thus, the seduction of a nude is almost undone by his grace and gentleness, looking for and raising protection. Love is, therefore, for the artist, a state of mind, a horizon, a way of being of body and mind. His artistic : In recent execution of works, where the face is used by the artist as "Means to communicate" and remains the predominant subject of the painting, the image takes on a second reading, never predictable, full of implicit meaning. In this regard it is noted that the portrait of the Barracks is located on a side of modernity and innovation, as she searches for dynamic elements and secrets of a face in a form that is never fixed, but it has connotations of the story, of "tranche de vie "and introspection, sometimes spirituality.

_____________________ Walter Boni (2009)

TWO WORKS IN COMPARISON: The other element constituent in the representation of faces, perhaps more difficult to observe but equally important is the sense of time. The time course, of course, not as one marked by the clock, but as internal time.

Title: Venise

In works such as "Venise" and "The 'I reflected," the study of communication of the two faces, it becomes meticulous, "Venise" depicts a young girl, but in the imagination of the artist, she is "Venice itself, an "immortal soul", and interprets favoring the suggestions and feelings during a visit to the city, rather than wanting to tell the real story. It "The self reflection" however, the old woman represents the awareness of himself and reached the inner freedom that allows you to transform faults in the merits: his face wrinkled skin exposed to a beam of harsh light, leaving out a time component that weaves an intense dialogue with figuration. "Venise " shows all 'observer as "a young woman's face" by the contemporary features, in which every detail seemingly trivial case is a vital clue to the purpose of the artist, who wants to offer, in a harmonious composition, an allegorical image unattainable in its essence and rich in meaning, that transmuted the face mask in a timeless: the pale face and sensual under a veil of powder, just souped up yellow where he met his gaze absorbed the sweetness of the veil of transparent color channel supported on the head, which highlights the fleshy lips and purple children, opened in uncertain gesture of the moment, not specifically defined. For the cabin, Venice is the harmony of opposites, and describes it by saying: ... It 's the eternal maiden purely instinctively gay and joyful, but so seductive and nostalgic, which involves us in the passion of its secrets torment ....

Title: The REFLEX IO

... In "The" I "reflected" we have instead a woman's face "marked" by time, a face wrinkled skin and otherwise readable depending on the light in which we expose the fabric to the changing profile of most of the evidence or three quarters. In this time does not focus, as in "Venise", the visibility of the moment that expresses the eternal, but expands to a dimension of life becomes an experience accumulated over time, day after day, year after year, until its end: the wisdom of age which makes it precious and beautiful even more pronounced wrinkles. The optical effect of splitting also gives us a vision of two perspectives, suggesting the idea of \u200b\u200ban "I" which has come to an understanding mirror of himself, urging the viewer to search for the essence. For this road, which is a representation of human figure full of symbolic meanings implicit, seems to have started the current search for Maria Cristina Baracchi. Who saw the painting, noting his would be surprised to linger very long time on a particular face, a shadow or a light, a fog color, which she felt to be important clues the complexity of the human heart. A new and far from stereotypical and easy solutions, but for this much more modern and innovative.

_______________ Walter Boni (2009)

Maria Cristina Baracchi

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