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MAX PELLEGRINI (b. 1945)

 
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 di Gloria198270 3/4 x 70 3/4 Zoll.(179,71 x 179,71 cm) Öl auf Leinwand

64,000

Pablo Picasso malt ein Porträt seines Porträtierten Giorgio De Chirico in einem Raum voller klassischer Antiquitäten, neoklassizistischer Skulpturen und impressionistischer Gemälde. Der Künstler träumt von seinem eigenen Ruhm, der durch die Meisterwerke im Raum symbolisiert wird - die Siegesstatue von Michelangelo, ein impressionistisches Kunstwerk, das sich in eine Ecke lehnt, und das Gemälde hinter der Dargestellten, das die menschliche Erkenntnis symbolisiert. Doch das ist alles ironisch gemeint. De Chirico sitzt nur für Pellegrini selbst ein, der seine eigenen Ängste und Phobien verspottet, indem er in einem Raum sitzt, in dem jede Person und jedes Kunstwerk auf dem Bild bereits ihren Ruhm erlangt hat.

"Ja, die Ironie ist eines der Elemente meiner Malerei. Ich mache mich und meine neurotischen Ängste und Phobien lustig und drehe die Situation mit ironischen, wenn nicht gar manchmal komischen Details. Ich habe z.B. eine Katze mit phosphoreszierenden Augen in eine bukolische Szene gesetzt, oder beim Thema Karneval mische ich Tod, Spott und Witz". (Antonio Monda, "Interview mit Max Pellegrini", in Max Pellegrini, Hrsg. Danilo Eccher, 2014
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