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The gold of Italy by Marco Frittella When art makes visible what is not always visible

Marco Frittella, historical face of television journalism, has told for forty years, first from the microphones of Gr2 and then of Tg1, the main political-institutional events of Italy. He was in Berlin in the winter of 1989 when the Wall fell and in Beirut in the last phase of the Lebanese civil war.

Among the many interviews carried out – from Gorbachev to Walesa, from Brandt to Cossiga and Napolitano – he also had the privilege of approaching a saint, St. Oscar Arnulfo Romero, archbishop of San Salvador, killed by death squads. Long professor of journalism at the University of Tor Vergata and at the school of Perugia, he led Tg1 for two decades and “Unomattina” for two seasons.

In 2020 he published Italia Green. Map of the excellence of environmental Made in Italy for Rai Libri, of which in March 2022 he was appointed editorial director.

During the conduct of the news, he often sports a tie with red-green stripes, colors of Ternana, a team of which he is a warm fan.
At the end of the news, when he greets the viewers, he puts his pen in the inner pocket of his jacket, a sign of recognition of his style.

Marco Frittella tells in his latest work the gold of Italy (Rai libri) – through the voice of archaeologists, managers, politicians – the stories of the recovery of the extraordinary cultural and artistic heritage of our country. The rebirth of our artistic and cultural heritage, thanks also to the work of volunteers, the new autonomy of museums, the excellence of restoration schools and law enforcement units to protect and safeguard our art treasures.

In these uncertain times, where everything seems to revolve around the contagion indices of Covid, the new decree, the last limitation, it is not strange or incomprehensible that we feel suffocated. Muffled as in an increasingly oppressive room, we feel the need to breathe. In this new book by Marco Frittella, I found the breath I was looking for, the break I wanted.

I filled my eyes with beauty, I allowed the mind to fly, imagine, look and admire. I pulled the plug, fed by words and I was fine, indeed very well.

I have taken a trip and I wish that each of you could do the same and you can, just venture through the pages of this essay, letting go will be natural.
They are to be admired, looked at and looked at to let new details leap to the eyes, to rest the eyes letting the immortal charm that is between the pages allow us to go away, in a timeless dimension, without anxieties, of pure beauty.

And it is exactly to beauty that Frittella dedicates this writing, showing all the faces, adjectives, different interpretations and its maximum essence.
With his words, always clear and flowing, we know the authors and the works, we are intrigued and at the same time educated, while the attention bounces from the written to the imaginations and vice versa.

The different “explanations” will strike us with their messages, whether they are devoted to the sacred or the profane, understandable, whether they speak to us in a Renaissance or romantic language, whether they envelop us in the atmospheres of mystery or in paintings in which we can recognize a funny, funny element, even before it is the author himself who gives us the indication.

In addition to the undeniable value of the work, it has another positive attribute: it is a book that we can look at as much as we want and every time we hear its call, the magic contained in it will awaken at every encounter.
Frittella makes an objective analysis of how art is considered in Italy, a word to fill your mouth with, but in the end relegated to a waste of time.

Our cultural heritage, grandiose and varied, is mistreated, not considered and not valued as it deserves. Yet the beauty it brings with it, is not useless or trivial: it is good, it is therapeutic as well as formative, the heritage of all.




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