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מקס פלגריני(נולד ב- 1945)

אמן ביו ביררהדאון 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
סוני די גלוריה198270 3/4 x 70 3/4 אינץ'. (179.71 x 179.71 ס"מ) שמן על בד

64,000

פבלו פיקאסו מצייר דיוקן של סיטר שלו ג'ורג'יו דה צ'יריקו בחדר מלא עתיקות קלאסיות, פסלים ניאו-קלאסיים וציורים אימפרסיוניסטיים. האמן חולם על תהילתו שלו, המסמלת את יצירות המופת שבחדר – פסל הניצחון של מיכלאנג'לו, יצירת אמנות אימפרסיוניסטית הנשענת בפינה, והציור שמאחורי השמרטפית המסמל את הידע האנושי. עם זאת, כל זה נועד באופן אירוני. דה צ'יריקו יושב רק בשביל פלגריני עצמו, שלועג לפחדים ולפוביות שלו עצמו, על ידי ישיבה בחדר שבו כל אדם ויצירות אמנות בציור כבר השיגו את תהילתם.

"כן, אירוניה היא אחד האלמנטים של הציור שלי. אני צוחק על עצמי ועל הפחדים והפוביות הנוירוטיים שלי ואני הופך את המצב לפרטים אירוניים אם לא לפעמים מצחיקים. הנחתי חתול, למשל, עם עיניים זרחן בסצנה פסטורלית, או בנושא הקרנבל אני מערבב מוות, לעג וצחוק". (אנטוניו מונדה, "ראיון עם מקס פלגריני", במקס פלגריני, אד. דנילו אכר, 2014
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