Those long days at Covid-19, where the life we knew has changed so much that we can’t hope for anything more. Yet buying and selling art remains constant. Moreover, the consistently high sales figures are making headlines. This week’s Art Diary features the best personal performance by surrealist Giorgio de Chirico at Sotheby’s.
The painting – Il Pomeriggio di Arianna – has only been sold once in a series of eight and has never been auctioned off before. It brought in $15.9 million. What’s so special about that? Julian Dawes, head of Impressionism and Contemporary Art at Sotheby’s, told Art Net that the painting distinguished itself from the work of other artists of the time and had a great influence on the surrealist movement.
But his words say nothing about the work itself.
It’s my turn now. You see the mythical Greek goddess Ariadne sleeping in the middle of an empty street. According to legend, she was abandoned by her lover Theseus. The Kiriko, who suffered alienation in her own life, painted it as a stone monument and turned the bells into a temple of power.
Ariadne Mittag is a high of 53 ¼ of 25 ½ inches. The monumentality of a woman’s stone lamentation in 1913, which made her a mainstay of power, put De Chirico ahead of his time. I can’t imagine any other alliance with the power of women for Rosie Riveter’s slogan. In 1941 you can do anything.
War is Hell.
Of course, surrealism has nothing to do with reality.
Artists like De Chirico had reason to ignore the real world. They were repelled by the horrors of war. The destruction of the First World War drove them out of the known world and into their own world. Surrealism was then a declaration of war against alienation, the fatal flaw of modern life.
A good example of De Chirico’s war with the real world is his painting The Insecurity of the Poet: a marble torso on a pedestal in a deserted street full of bananas. Think of something.
But wait, Giorgio, given the horrors of war, your rebellion against the real world makes perfect sense.
When we talk about women and war, Hyperallergy reports news related to De Chirico’s sermons on women and the destruction of war. This news concerns the activities of women who call themselves the collective that loves them, who protest against the ongoing Armenian war under the title We are the weapons our ancestors did not have. Last week, the group threw rose petals into the Los Angeles River, each representing more than 1,000 people from the Republic of Nagorno-Karabakh who were killed last month.
Ariadne has the last word.
The leader of the group She loves Ani Nina Ohanyan wrote a letter to Hyperlergy, stating that the group, which consists of artists, musicians, doctors, lawyers, businesswomen and inventors, are the descendants of the survivors.
Despite their efforts, the media pay little attention to their case. It’s no different than the sense of alienation in Ariane’s Good Noon.
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