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ماكس بيليغريني (ب. 1945)

الفنان بيو الاستفسارحميل PDF
 
Pablo Picasso paints a portrait of his sitter Giorgio De Chirico in a room filled with classical antiquities, neoclassical sculptures and impressionist paintings. The artist dreams of his own glory, which is symbolized by the masterpieces in the room – the statue of Victory by Michelangelo, an Impressionist artwork leaning in a corner, and the painting behind the sitter that symbolizes human knowledge. Yet, this is all meant ironically. De Chirico only sits in for Pellegrini himself, who mocks his own fears and phobias, by sitting in a room in which every person and artwork in the painting have already achieved their glory. <br><br>“Yes, irony is one of the elements of my painting. I make fun of myself and my neurotic fears and phobias and I turn the situation with ironic if not at times hilarious details. I placed a cat, for example, with phosphorescent eyes in a bucolic scene, or in the subject of Carnival I mix death, ridicule and joking.” (Antonio Monda, “Interview with Max Pellegrini,” in Max Pellegrini, ed. Danilo Eccher, 2014
Pablo Picasso paints a portrait of his sitter Giorgio De Chirico in a room filled with classical antiquities, neoclassical sculptures and impressionist paintings. The artist dreams of his own glory, which is symbolized by the masterpieces in the room – the statue of Victory by Michelangelo, an Impressionist artwork leaning in a corner, and the painting behind the sitter that symbolizes human knowledge. Yet, this is all meant ironically. De Chirico only sits in for Pellegrini himself, who mocks his own fears and phobias, by sitting in a room in which every person and artwork in the painting have already achieved their glory. <br><br>“Yes, irony is one of the elements of my painting. I make fun of myself and my neurotic fears and phobias and I turn the situation with ironic if not at times hilarious details. I placed a cat, for example, with phosphorescent eyes in a bucolic scene, or in the subject of Carnival I mix death, ridicule and joking.” (Antonio Monda, “Interview with Max Pellegrini,” in Max Pellegrini, ed. Danilo Eccher, 2014 Pablo Picasso paints a portrait of his sitter Giorgio De Chirico in a room filled with classical antiquities, neoclassical sculptures and impressionist paintings. The artist dreams of his own glory, which is symbolized by the masterpieces in the room – the statue of Victory by Michelangelo, an Impressionist artwork leaning in a corner, and the painting behind the sitter that symbolizes human knowledge. Yet, this is all meant ironically. De Chirico only sits in for Pellegrini himself, who mocks his own fears and phobias, by sitting in a room in which every person and artwork in the painting have already achieved their glory. <br><br>“Yes, irony is one of the elements of my painting. I make fun of myself and my neurotic fears and phobias and I turn the situation with ironic if not at times hilarious details. I placed a cat, for example, with phosphorescent eyes in a bucolic scene, or in the subject of Carnival I mix death, ridicule and joking.” (Antonio Monda, “Interview with Max Pellegrini,” in Max Pellegrini, ed. Danilo Eccher, 2014 Pablo Picasso paints a portrait of his sitter Giorgio De Chirico in a room filled with classical antiquities, neoclassical sculptures and impressionist paintings. The artist dreams of his own glory, which is symbolized by the masterpieces in the room – the statue of Victory by Michelangelo, an Impressionist artwork leaning in a corner, and the painting behind the sitter that symbolizes human knowledge. Yet, this is all meant ironically. De Chirico only sits in for Pellegrini himself, who mocks his own fears and phobias, by sitting in a room in which every person and artwork in the painting have already achieved their glory. <br><br>“Yes, irony is one of the elements of my painting. I make fun of myself and my neurotic fears and phobias and I turn the situation with ironic if not at times hilarious details. I placed a cat, for example, with phosphorescent eyes in a bucolic scene, or in the subject of Carnival I mix death, ridicule and joking.” (Antonio Monda, “Interview with Max Pellegrini,” in Max Pellegrini, ed. Danilo Eccher, 2014
Sogni دي غلوريا198270 3/4 × 70 3 /4 في. (179.71 × 179.71 سم) زيت على قماش

64,000

بابلو بيكاسو يرسم صوره لحاضنه جورجيو دي تشيريكو في غرفه مليئه بالآثار الكلاسيكية والمنحوتات الكلاسيكية القديمة واللوحات الانطباعية. يحلم الفنان بمجده الخاص ، الذي يرمز اليه الروائع في الغرفة-تمثال النصر من قبل مايكل أنجلو ، وهو عمل فني انطباعي يميل في زاوية ، واللوحة وراء الحاضنة التي ترمز إلى المعرفة البشرية. ومع ذلك ، هذا كله يعني السخرية. دي Chirico يجلس فقط في ل Pellegrini نفسه ، الذي يسخر مخاوفه الخاصة والرهاب ، من خلال الجلوس في غرفه التي كل شخص والاعمال الفنية في اللوحة قد حققت بالفعل مجدهم.

"نعم ، السخرية هي واحده من عناصر اللوحة بلدي. انا يسخر من ومخاوفي العصبية والرهاب وانا تحويل الوضع مع السخرية ان لم يكن في بعض الأحيان تفاصيل فرحان. انا وضعت قطه ، علي سبيل المثال ، مع عيون فسفورية في مشهد المغص ، أو في موضوع كرنفال انا مزيج الموت ، والسخرية والمزاح ". (أنطونيو موندا ، "مقابله مع ماكس Pellegrini ،" في ماكس Pellegrini ، اد. دانيلو ايتشر ، 2014
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