Gioia Mori's Lempicka (Art dossier Giunti) PDF

Painting

By Gioia Mori

Tamara Łempicka, generally known as Tamara de Lempicka (16 could 1898 – 18 March 1980), born Maria Górska in Warsaw, Congress Poland, then a part of the Russian Empire used to be a Polish paintings Deco painter and "the first lady artist to be a glamour star".

Sommario:

La Polacca errante
Lezioni di Stile
l. a. cecità di André Gide
La bella Maniera
Un Romanov salvato da Gorkij
Tempi moderni
Suzy Solidor, "malouine"
Tamara dei Salon
Esercizi di Stili
Quandro cronologico
Bibliografia

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Extra info for Lempicka (Art dossier Giunti)

Sample text

Meat is not dead flesh; it retains all the sufferings and assumes all the colors of living flesh. It manifests such convulsive pain and vulnerability, but also such delightful invention, color, and acrobatics. Bacon does not say, "Pity the beasts," but rather that every man who suffers is a piece of meat. Meat is the common zone of man and the beast, their zone of indiscernibility; it is a "fact," a state where the painter identifies with the objects of his horror and his compassion. The painter is certainly a 23 Francis Bacon butcher, but he goes to the butcher's shop as if it were a church, with the meat as the crucified victim (the Painting of 1946 [3]).

26 Chapter 5 Recapitulative Note: Bacon's Periods and Aspects From the scream to the smile: dissipation Bacon's three successive periods The coexistence of all the movements - The functions of the contour The head-meat is a becoming-animal of man. In this becoming, the entire body tends to escape from itself, and the Figure tends to return to the material structure. We have already seen this in the effort the Figure exerted upon itself in order to pass through the point or the hole; and even more so, in the state it assumed when it went into the mirror on the wall.

Yet Bacon does not seem to think of the head in this manner. The bone belongs to the face, not to the head. According to Bacon, there is no death's-head. The head is deboned rather than bony, yet it is not at all soft, but firm. The head is of the flesh, and the mask itself is not a death mask, it is a block of firm flesh that has been separated from the bone: hence the studies for a portrait of William Blake [20, 21]. Bacon's own head is a piece of flesh haunted by a very beautiful gaze emanating from eyes without sockets.

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