返回

马克斯·佩莱格里尼·尼恩(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 英寸(179.71 x 179.71 厘米)。(179.71 x 179.71厘米)油画

64,000

巴勃罗·毕加索在一间充满古典文物、新古典主义雕塑和印象派绘画的房间里描绘了他的坐席乔治·德·奇里科的肖像。艺术家梦想着自己的荣耀,这象征着房间里的杰作——米开朗基罗的《胜利》雕像、斜靠在角落里的一幅印象派艺术品,以及象征人类知识的画卷。然而,这一切都意味着具有讽刺意味。德·奇里科只是坐在佩莱格里尼自己,谁嘲笑自己的恐惧和恐惧,坐在一个房间里,每个人和艺术作品在画中已经实现了他们的辉煌。

"是的,讽刺是我画的元素之一。我取笑自己和我的神经质的恐惧和恐惧症,我把情况与讽刺,如果不是有时搞笑的细节。例如,我把一只猫用磷光的眼睛放在一个喧闹的场景中,或者在狂欢节的主题中,我把死亡、嘲笑和开玩笑混为一谈。(安东尼奥·蒙达,"与马克斯·佩莱格里尼的访谈",在马克斯·佩莱格里尼,达尼洛·埃彻,2014年
询问