e-limbo, e-zine de informacion y analasis de modos de vida actual
26.05.2020 / Sesión no Iniciada 
_Wabi Sabi

 _enviar articulo

e-mail emisor
e-mail receptor
Ayúdanos a evitar contactos automáticos
Anti Spam

En estos tiempos de hipercomunicación bastaría la invitación de enviar a un amigo cualquiera de los textos que consideres interesantes algo redundante: demasiada comunicación, demasiados textos y , en general, demasiado de todo.
Es posible que estemos de acuerdo... pero cuando encuentras algo interesante en cualquier sitio, la red, la calle, tu casa, o un lugar escondido y remoto, compartirlo no sólo es un acto (acción, hecho) de amistad o altruismo, también es una manera de ahorrar tiempo a los demás (y de que te lo ahorren a ti (si eres afortunado) a costa del tiempo que tu has podido derrochar (emplear) y el gustazo de mostrar que estuviste ahí (o donde fuera ) un poco antes (el tiempo ya no es más el que era).
Comparte con tus conocidos aquello que encuentras, es evolución.
Rats' teeth and empty eyes
06-08-06 Adrian Searle 

* Nude by Amedeo Modigliani, 1917

Is Modigliani really anything more than a caricaturist?

I cannot like Amedeo Modigliani, whom I rarely think about; when I do, he only irritates me. Confronted by his work, I find myself moving on to something else as quickly as I can. He's like an unfortunate acquaintance one can never entirely shrug off.

Drunken, ranting and stoned on one thing or another - add hash, coke, ether and opium to the alcohol -Modigliani, the archetypal cursed artist, the peintre maudit, rattled round Paris, between studios, salons, bars and lovers from 1906, when he arrived from Livorno, until his death, from tubercular meningitis, in 1920. Oh God, here comes Modi, you can hear half Paris muttering as he hove into view. The other half swooned. He was a Martin Kippenberger of his time, but with less talent, fewer ideas. He must have had something, though: a charmer then, brooding and handsome, an exotic Italian Sephardic Jew, a seducer who could quote Dante. He is still seductive; how else to account for his enduring popularity?

After the long necks, the oval faces, the out-of-kilter almond-shaped eyes and the pinched, pursed lips of his subjects, what is there to be said about Modigliani's work? For a start, there are the nasty little rats' teeth that sometimes peek from between those lips. There are the often unhappily planted noses - sometimes graphic and schematic, sometimes as sculptural as the keel of a boat - and that offhand way he has with the tamed and tweezered eyebrows he always drew; the funny little cursive bump he does to delineate a chin.
The eyes in Modigliani's paintings are unfailingly odd. Whenever he paints the lashes, the eyes end up looking as if they've been stitched to the face. Other eyes are blank holes with no pupils, which make his figures look hollow ( I think they're meant to be inward-looking, deep, poetic and mysterious), or as if they're being peered through from behind, like masks.

In one 1918 portrait of his last lover, Jeanne Hébuterne, the disjunction between the face and the eyes is so strong it looks as though a figure painted by Picabia is hiding behind the sitter, and looking back at Modigliani. Eyes with a squint, slanting eyes, blind eyes and dead eyes, little piggy eyes, empty eyes, bedroom eyes - the eyes are arresting.

Somehow they also give his game away. Modigliani mistook caricature for character. And a caricaturist, albeit an extremely limited one, is perhaps what he always was, although what he ended up being was a painter of types - implacable seated women, wanton or sleeping nudes, drinking buddies and collectors. I try hard but am unable to discover much about his subjects from his paintings.

He painted one lover, Beatrice Hastings, 14 times. Hastings also had affairs with Ezra Pound and Katherine Mansfield, and briefer encounters with André Breton, Picasso and Wyndham Lewis, among others. She carved notches on the headboard to keep a tally of her lovers. A journalist and unfairly neglected novelist, she gassed herself, along with her pet mouse, in 1943. But knowing all this doesn't get us far when it comes to Modigliani's portraits of her. Intriguing biographical back-stories don't make Modiglianis any better as paintings. Towards the end of the first world war Modigliani travelled south with Hébuterne, and painted anonymous peasants and servants. The only full-length portrait in the show, of a servant girl, has a stillness and presence so many other of his paintings lack. These tender depictions of nameless young men and women are deeply indebted to Cézanne, yet they have an unexpected dignity. Modigliani's contemporaneous portraits of friends, painted in his elongated, faux-Renaissance style, strike one as Modiglianis first, real people second, if at all.

It is as difficult to see the artist himself as a real person. Modigliani wanders in and out of biographies of Picasso and Matisse, tolerated but never seeming entirely welcome. Yet there Modigliani was, hanging out with Picasso and Juan Gris, Brancusi, Max Jacob and Apollinaire, Jacob Epstein, Jean Cocteau. Did they admire him, or was he merely humoured? Picasso painted over one canvas he bought from Modigliani, although he bought another that he kept until his death.

The critic André Salmon, one of Modigliani's sitters, said that Modigliani was "the sole painter of women from life". Emily Braun, writing in the current catalogue, says that "the most startling aspect of a Modigliani nude, what makes it immediately identifiable, is the way in which the female body is literally in your face". Surely, a Modigliani nude is neither "literally" in anyone's face, nor is this what makes one of his nudes "immediately identifiable". I recognise Modigliani's paintings, whether they are portraits or nudes, the only two subjects he had, because of their stylisations. A Modigliani doesn't need to be in your face: his art is instantly recognisable, however far away you stand.

Nor is the flesh in Modigliani all that fleshy. A Modigliani nude always wears its colour like a fake tan. Real light never falls on a Modigliani nude; they all have that same orangey inner glow, the same softened shadows, the same smoothed, easy-on-the-eye pin-up physicality.

Little wonder the Californian artist Mel Ramos did a whole series of vaguely art-historical babes called You Get More Salami With Modigliani. There's nothing much in a Modigliani nude to hold anyone's gaze, male or otherwise, for long. They are a sort of porn-lite decor. Looking at the great nudes of Picasso and Matisse (think of Matisse's Pink Nude of 1933) one is struck by the way these artists were interested in form. There is so much variety and inventiveness and curiosity in their manipulation of their real or imagined models, compared with Modigliani's. "What is truly obscene," writes Braun, "is that Modigliani painted such gorgeous female bodies, whole and sensual, flushed rose by the vitality of a beating heart and pumping arteries, while several miles away the limbs of men were being blown to bits." This, I think is hyperbole. What is obscene is that two days after Modigliani's death, the pregnant Hébuterne leapt from an upstairs window, killing herself and the child she was carrying.

For all his druggy wildness, Modigliani is an unpleasantly meek and bland artist. Looking closely at his nudes, there is little evidence of adjustment, much less radical reworking. What goes down onto the canvas stays, by and large, where it is put. Only at the frontiers between the bodies of his nudes and the spaces and things that surround them, is there a sense of a body actually inhabiting space. This is where things could get sexy and dangerous, but they don't. Nor does his brush traverse the body in an interesting way. His nudes are ciphers.

You can take it that I'm pretty much immune to Modigliani. Perhaps I am missing something, and Modigliani and His Models, his first major show in the UK for over 40 years, is a long-awaited corrective to all the cliches about an artist who was, himself, something of a purveyor of cliches. But it doesn't wash, in the end. As much as Modigliani is always his own, limited self, he also looks like a pasticheur, of the artists he looked at and admired. He went some way to make their lessons his own, but he was less than the sum of his influences, which run from Botticelli, Pontormo and Titian to Cézanne, Gauguin and Picasso. Without Picasso's example, without all the sex and drugs and drink, what would we be left with? The best we can say is that without Modigliani, no Beryl Cooke. Modigliani has been called "a superb draughtsman", but he did very little with it. There's a thinness and overweening graphic ease about his talent.

He didn't really develop much. He had a "way" and that was it. Unlike, say, the abstract expressionist Arshile Gorky, who said, about his early career that "first I was with Cézanne, and now, naturally, I am with Picasso", and who was, in Robert Storr's phrase, "both the real thing and the perfect simulacrum of the creative genius". Gorky managed to make something vital from his sources; Modigliani added very little.

The drugs - which his patron, the dermatologist Paul Alexandre, encouraged him to take in the belief that they could unlock the artist's creativity - cannot have helped. Even William Burroughs said he couldn't write on drugs, and Francis Bacon could rarely work productively when he was drunk. Picasso's opiated evenings during the blue and rose periods, before Modigliani arrived in Paris, may have provided him with imagery, but even Picasso couldn't work in a stupor. Cocaine never did the YBAs any good. Hashish, in my experience, makes you perceive the world with a heightened and erroneous sense of detail, and robs you of the ability to connect the details into a coherent whole. Drugs did Modigliani no favours. He became, I think, seduced and captivated by what talent he had - a very dangerous and narcissistic place to be.

· Modigliani and His Models runs from Saturday until October 15, Royal Academy of Arts, London W1 Details: 020-7300 8000; royalacademy.org.uk

First published at http://guardian.co.uk/


Rating: 4 - 1 voto(s).

No existen comentarios.
Comentario / Comment:
  atención: para realizar comentarios tienes que ser usuario registrado.

_HistÓrico_Wabi Sabi

15-01-12_ Un poquito de volición
11-12-10_ OBSCURE No. 5 - Jan Steele  * John Cage
17-10-10_ GATEKEEPER
22-07-08_  @--`--,--
21-02-08_ The best food for runners
23-09-07_ Counter Culture Strategic Risk Analysis
06-07-07_ Zoetrope
26-06-07_ The Call of Cthulhu
11-08-07_ Thomas Dolby & Rachellle Garniez (@TED TALKS)
17-05-07_ De Düva * The Dove
03-05-07_ Jacques Lacan * Television (rarity)
02-05-07_ Postcards from the Future: The Chuck Palahniuk Documentary
24-04-07_ Eternidades
03-07-07_ Terayama Shuji - Experimental Image World
13-04-07_ Media That Matters Film Festival
25-06-07_ Allen Ginsberg * ... ten years after
25-06-07_ La Petite Lovecraft [ + ]
27-03-07_ 11111010001 [ * ] reloaded (acelerado)
03-03-07_ Destroy the museums, in the streets and everywhere
02-03-07_ I and my inanimate Inamorata Interlaced again
10-02-07_ La elegancia formal y la ligereza de una nube blanca" (DOCUMENTA 12 Press Release)
07-02-07_ DIY or DIE 
03-02-07_ Las pseudociencias son como las pesadillas
22-01-07_Tadanori Yokoo * 3 Animation Films (1964-65)
18-01-07_ Como se hacen los espejos
16-01-07_ Desiderata
11-01-07_ SecondSpaceTube
08-01-07_ How to survive through the Urban Jungle and other stories
03-01-07_ Pornography & Technology
01-01-07_ Becoming Transhuman
02-01-07_ Lenguage is a virus
25-11-07_ Pipilotti Rist * Video Works (1988-1999) 
31-05-07_ Eric Dolphy * Hy Fly
10-12-06_ Costumbres de los Ahogados * Alfred Jarry
13-12-06_ Visión cruda
01-12-06_ Bruselas, de Dansaert a Saint-Géry
23-11-06_ I've got it all, de Tracey Emin
20-11-06_ Forbidden Transmission
14-11-06_ Salo or the 120 Days of Sodom
13-11-06_ Semana de enlaces
04-11-06_ Wabi Sabi * La belleza de lo imperfecto
03-11-06_ McKenzie Clark * Interview
03-11-06_Fischli & Weiss celebran lo normal * Flowers & Questions.
18-10-06_Ahora mismo * para Siempre
31-05-07_ Lacan's Later Teaching
05-10-06_Shut Up, Little Man!
30-09-06_Coleccionar arte hoy
29-09-06_A las Cinco de la Tarde
20-09-06_Los agujeros negros no destruirán la Tierra
16-09-06_En la cuerda floja * el exclusivazo
15-09-06_Disney * El sádico de nuestra infancia
13-09-06_Los ladrillos contraatacan
11-09-06_Nomads and No-Zones
01-09-06_Experimentaclub 2006
31-08-06_Microsoft The Office
20-08-06_¿Quien mató a Cesar? ¿Un barco negro?
06-08-06_Rats' teeth and empty eyes
31-07-06_The Holy Mountain * Alexandro Jodorowsky
28-07-06_El retrato oval
20-07-06_Culture Hacking (rough draft)
20-07-06_No Generation
06-07-06_Landscape music
09-06-06_Getting High: A History of LSD
05-06-06_Frank Zappa * Remington Electric Razor
31-05-06_fijuu2 - 3D sound toy
05-06-06_Interview * Marc Boehlen
20-05-06_La nueva emisión de Tom Verlaine
20-05-06_Fluorescent bleeding chaos
12-05-06_Madrid se estrena en la feria del sexo
07-06-06_My Compliments to the Lab
30-04-06_Je t´aime Jane Birkin
07-06-06_Going to Pixelache
19-04-06_California dreaming
19-04-06_Drinking Problem? Try Drugs
09-04-06_China, el espejo desmesurado
06-04-06_Malditos, heterodoxos y alucinados
01-04-06_My Life in the Bush of Ghosts * Brian Eno/David Byrne
23-03-06_Back Soon
20-03-06_Soulseeking | The Road to Recovery
19-03-06_'Hamlet': todavía no
14-03-06_The State of emergency called Love
14-03-06_false friends
05-03-06_Trends '06 | from A to Z
04-03-06_Octavia Butler | The outsider who changed science fiction.
25-02-06_Club Gascon, Where Lunch Can Take All Afternoon
20-02-06_De evento en evento…, de comida en comida ...
13-02-06_De cómo ser comisario y vivir del cuento
12-02-06_La ilusión del buen rollo
11-02-06_Artistas colgados del teléfono
07-02-06_Seven ways to boost your fertility
27-01-06_Coleccionar coleccionistas
27-01-06_Interview With Mike Kelley
07-01-06_Conceptual Artist as Vandal: Walk Tall and Carry a Little Hammer (or Ax)
09-01-06_Un viaje sonoro por el 2005
04-01-06_La demostración de la conjetura de Kepler
09-06-06_The View from the Dance Floor
17-11-05_La novela no ha muerto, ¡viva la novela!
02-04-08_ Al Diablo * La última dedicatoria de Roberto Bolaño
31-05-05_Viaje a Babia

_ORBITAL_Wabi Sabi


Regístrate y disfruta de utilidades de administración y gestión de los contenidos de e-limbo*
Recibe las novedades en tu correo electronico.
El futuro está escrito en las estrellas... Horóscopo creado por J.G. Ballard y dedicado a todos vosotros.
Aplicaciones y herramientas necesarias para navegar y utilizar los contenidos del limbo electrónico e internet (www).
Artículos de e-limbo* en formato PDF preparados para viajar y aportar información allá donde estés. (y seguir salvando árboles)

_e-limbo * apoya



Mais uma edição do podcast Música Livre para o Archivo Vivo, do Centro Cultural da Espanha/AECID. ...
Ante preguntas de oyentes y amigos, puedo responder ahora que Vía Límite continuará en Radio ...
SORPRESA¡!¡! An unreleased version of Talking Heads' "Psycho Killer" with Arthur Russell on cello
Optimizado: Firefox, Safari, Mozilla, Netscape, Konqueror, Explorer. Resolución óptima: 1024x768
ISSN: 1885-5229    Aviso Legal e-limbo.org*