In the first part of the article the author considers the specific feedback between the rhetoric of art criticism, dominated by the topos of silence, and the way the public image and the official biography of the artist are created. In the second part the author analyses how Giorgio Morandi's work was received by film makers. Morandi's 'Natura Morta' was one of the 'characters' in Federico Fellini's 'La Dolce Vita' (1960). The analysis of the way Morandi's paintings became a part of the film allows us to reconsider the status of silence in the work of the artist.
Financed by the National Centre for Research and Development under grant No. SP/I/1/77065/10 by the strategic scientific research and experimental development program:
SYNAT - “Interdisciplinary System for Interactive Scientific and Scientific-Technical Information”.