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DRAWINGS ON WIPES. FEDERICO FELLINI – COMIC Creator

Every true artist reveals to the world his unique unique personality. In my opinion, the main thing that an artist gives to the world is not his paintings, not theoretical developments, but his own unique way to create, his amazing and new reaction to what is happening around.

Mirrey Amiel words: “How poor the imagination of Fellini, how wretched the redundancy of his films, and the frequent repetitions compared to the impudence of Ferreri.” Sometimes I was ready to agree with him. But in the name of Fellini is hidden a mystery that radiates energy, thanks to which, Fellini turned into the emblem of world cinema.

Tarkovsky’s words: “He creates his own poetic world in order to express through it with the wholeness that seems to him today, just as 20 years ago, unattainable, originally desired, but impossible, his attitude to the surrounding reality.” Good wonderful words that capture the very essence of creativity. For a true artist, the world cannot fade. The colors he admired twenty years ago have uniquely changed, but still retain their sparkling freshness.

Words by journalist Vincenzo Monica: “Fellini’s drawings, created at the intersection of cinema, painting and comics, contain signs of the poetry of the great mystic dreamer, and still remain food for all the” living souls “floating on our planet.” Nice line. “I belong to the category of artists who identify with their art,” says Fellini. Indeed, everywhere in Fellini’s drawings we can find him in his hat and cloak. Here he is talking with his exorbitantly enlarged member, here he is drowning in the most intimate female places, here he is almost crushed by massive female breasts. These drawings can easily be mistaken for hallucinations of an old vulgar pervert, a tired macho man. Painful visions of excess flesh. “I think I’ve been making films about women all my life. I owe them all,” says Fellini. “At the beginning of the work on each film, I spend most of my time at the writing desk and I am busy exclusively with the absent-minded painting of female buttocks and breasts. This is my method of entering the film and starting to decipher it using these arabesques,” admits Federico.

But let’s move on to the comics. What did comics matter in Fellini’s life?

Says comic book artist Milo Manara: “For Fellini’s seventieth birthday, I gave him a box of felt-tip pens, his eyes sparkled like a child. These were good felt-tip pens that don’t fade over time, but I didn’t tell him about it, so as not to puzzle him. He never he took his drawings seriously. He did not understand how reverently we kept the restaurant napkins on which he painted. ”

Were comics a simple hobby, like advertising, or was it something more serious? Although Fellini himself said that the process of creating an advertisement is no different from the process of creating a film, images are created both in advertising and in the film, the level of which depends entirely on the director’s own talent, and not on the genre he has chosen. The example of Fellini teaches us that in truth a talented person is open to everything new, extraordinary, wherever it is. He absolutely does not shy away from what is generally considered low or high. He is alien to the arrogant snobbery of such spectators who, for example, can declare: “I watch only Fellini and Antonioni, I am only interested in high art.” Such words testify to the stiffness of a blinkered consciousness, which does not understand that in what is universally considered low, one can find much more elements that can enrich and fill the soul than that which is officially recognized as the peaks of world culture, but not felt and experienced – present. Man is created from earthly dust, verses, according to Akhmatova, grow from garbage. The task of the artist-creator is to breathe life into life, to spiritualize the material, which at first glance seems obscene. Art is like wonderful magic that allows Vasilisa the Wise to turn scraps and bones into beautiful swans.

But back to the comics. Milo Manara writes about his collaboration with Fellini: “I rather refer Fellini not to visionaries, but to converters. He does not imagine monsters instead of windmills, and his simple mills are transformed into a great windmill, and the viewer becomes infected with this. Only Fellini uses it’s the purpose of the camera, like the third eye. For me, Fellini was always a little Prometheus, who stole fire from the gods for people. For Fellini, the plot of the plot is secondary. The main thing for him is to reveal the secret essence, transform the visible, a certain animism. Like hu I had difficulties in this series, but Fellini found their solution. Fellini went from drawing to dialogue and further to the plot, which took shape through the transformation. And I continued to draw in my own manner. The engine started, and, towards the end of the story, we flew up to the moon. ” According to Oreste del Buono, Fellini was very fond of comics and was well acquainted with American heroes Flash Gordon, agent X9, Mandrake and Phantom

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