The essay investigates the Via Crucis that Maria Lai donated to the Church of Sant'Antioco in her town: a very intense interpretation of the last acts of Christ's life through her language rich in cultural references, anthropology and humanity. In fact, we must not forget that Maria Lai's art is always nourished by her experience, that of a Sardinian woman, who returns to her land after a path of cultural formation strongly marked by the meeting with Arturo Martini, the artist who declared the death of sculpture, to resume a path never completely left. The work is in fact executed with a technique that combines embroidery to weaving, the ancient art of women, which has always been a place of their freedom, a manifestation of creativity and technical expertise.

Di Raddo, E., The way of the cross of Maria Lai in Ulassai, <<ARTE CRISTIANA>>, 2019; 107 (911): 84-97 [https://hdl.handle.net/10807/277497]

The way of the cross of Maria Lai in Ulassai

Di Raddo, Elena
2019

Abstract

The essay investigates the Via Crucis that Maria Lai donated to the Church of Sant'Antioco in her town: a very intense interpretation of the last acts of Christ's life through her language rich in cultural references, anthropology and humanity. In fact, we must not forget that Maria Lai's art is always nourished by her experience, that of a Sardinian woman, who returns to her land after a path of cultural formation strongly marked by the meeting with Arturo Martini, the artist who declared the death of sculpture, to resume a path never completely left. The work is in fact executed with a technique that combines embroidery to weaving, the ancient art of women, which has always been a place of their freedom, a manifestation of creativity and technical expertise.
2019
Italiano
Di Raddo, E., The way of the cross of Maria Lai in Ulassai, <<ARTE CRISTIANA>>, 2019; 107 (911): 84-97 [https://hdl.handle.net/10807/277497]
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Utilizza questo identificativo per citare o creare un link a questo documento: https://hdl.handle.net/10807/277497
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