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マックス・ペレグリーニ (1945年)

 
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
栄光のソグニ・ディ・グロリア198270 3/4 x 70 3/4 in.センチ油彩・キャンバス

64,000

パブロ・ピカソは、古典的な古代、新古典主義の彫刻、印象派の絵画で満たされた部屋で、彼のシッタージョルジョ・デ・キリコの肖像画を描きます。部屋の傑作に象徴される彼自身の栄光を夢見るアーティストは、ミケランジェロの勝利の像、隅に傾く印象派のアートワーク、そして人間の知識を象徴するシッターの背後にある絵画。しかし、これはすべて皮肉な意味です。デ・キリコは、絵画のすべての人とアートワークがすでに彼らの栄光を達成している部屋に座ることによって、彼自身の恐怖と恐怖をあざ笑うペレグリーニ自身のために座っています。

「はい、皮肉は私の絵の要素の一つです。私は自分自身と私の神経症の恐怖と恐怖症をからかい、私は時々陽気な詳細ではない場合は、皮肉で状況を回します。例えば、蓄光の目をブコリックなシーンに入れたり、カーニバルの題材に死、冷笑、冗談を混ぜて猫を置いたりしました」(アントニオ・モンダ「マックス・ペレグリーニとのインタビュー」、マックス・ペレグリーニ、ダニロ・エッヒャー、2014年
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