Rus News Journal

Exhibition in Edinburgh

the Swiss sculptor has transformed the Italian plasticity beyond recognition

In Edinburgh in National gallery of the modern art of Scotland (Scottish National Gallery of Modern Art) the exhibition " is opened; Alberto Dzhakometti (1901 - 1966) ( Alberto Giacometti ) ). It is a huge retrospective show of the artist on which it is collected hundred sculptures, hundred drawings and forty picturesque cloths, representing all periods of creativity of Dzhakometti. Recently Dzhakometti became one of the most popular artists of the XX-th century and worldwide has passed set of its exhibitions. The exhibition in Vienna this year was one of the most successful. Passionate love to Dzhakometti, flashed with new force in the beginning 90 - h, not simply next intellectual fashion, and a symptom of change of taste now, maybe, also not so obvious. Put among others, but the similar phenomena, the hobby of Dzhakometti in the future will be considered as one of displays of a spirit of the age which will receive most likely the name of the end of the century or the modernism end, and it is quite probable that Dzhakometti can play the same role for new generation of artists what was played by Cezanne for avant-guard of the beginning of our century though now comparison of their talents sounds for many almost blasphemously.

If to ask young Parisian intellectuals of years of twenty whom from artists they consider today as the most actual names strange for hearing of those to whom for thirty, is first of all Francis Bacon and Alberto Dzhakometti more often will be named. In it the discontent with the conceptualism perceived already as art of parents, hammered in all prestigious European both American showrooms and minds of university professors is shown, and this discontent can be defined as natural reaction of new generation to system of values of generation previous, declared become outdated. The conceptualism which has strongly located in all officially recognised centres of the modern art, began to remind academism of a XIX-th century the categoricalness causing irritation all who would like to apply for independence.
the Love to Dzhakometti and Bacon is similar to other phenomena of taste of last time, as, for example, success so-called the London school ; the scandal which has burst round an exhibition of China in America and uncountable disputes on the main exhibition last year`s Venetian biennial, focusing attention on izobrazitelnosti first of all. In Dzhakometti the same as and in to the London school or in Berlin new wild and the expressiveness appealing not to reason involves in sensuality, that is the strongly pronounced psychophysis peculiar to all listed phenomena of art of the XX-th century. All these artists osoznanno insist on izobrazitelnosti as to fine arts basis that already many times during our century was proclaimed a ridiculous atavism.
Is, truth, one more explanation of popularity Dzhakometti more often proceeding from more senior generation, peevishly asserting that it is caused by that the western galleries of the modern art have bought a considerable quantity of etchings, sculptures and drawings of this artist and now are interested in a commodity market. This statement is not deprived the bases and an exhibition in Edinburgh, almost on half consisting of the neopublished works belonging to private collectors, serves as the indirect demonstration of it. Nevertheless in a case with Dzhakometti the art market shows pleasant unity with, so to say, spiritual needs: there was a keen desire new ekspressivnosti and galleries there and then offer a wide choice of works of Dzhakometti quite meeting this desire.
it is impossible to tell that Dzhakometti was when - nibud the forgotten artist. Its works almost at once send the buyers and its well-known studio in Paris where it existed with the brother Diego known for the designer of interiors and the designer, was successful enough enterprise making that it is possible to designate a prosaic word production - set of a small plasticity and the printing drawing regularly arriving in the order of numerous international galleries. Studio Dzhakometti functioned like Andy Warhol`s who have openly proclaimed commerce by a basis of art creativity factory. Image at Dzhakometti which have shifted all commercial cares on the brother, was, however, absolutely another. Atmosphere of its studio was severe and closed, and no noisy art bohemia there was supposed. The schedule of Dzhakometti was so severe: The infinite work adjoining on conventionalism, and conscious isolation within four walls, occasionally broken by sorties in the Parisian cafes and trips to Stampu, the native city of Dzhakometti in a so-called Italian part of Switzerland located in foothills of the Alpes.
sorties in the Parisian cafes in 50 - e years - rather characteristic feature not only a certain way of life, but also defined socially - political orientirovannosti. These cafes of Montparnasse and the left coast Seny, today visited basically rich American and Japanese tourists, at that time were the centres intellektualizirovannoj the Parisian dolce vita. If to replace the main characters fellinievskogo a film, on - italjanski it is plain - sensual and, in general - that, simple-minded, despite all depths of a reflexion 60 - h, on so refined representatives of the European spirit as Jean - Pol Sartre and Simona de Bovuar and to consider all existential changes which will turn out as a result of it it is possible for itself to present atmosphere of Paris of time when a cancer Tropic Henry Miller became near, but nevertheless past. Pustynnik Dzhakometti, in the life and image insisting almost on Calvinist simplicity that is underlined by its Swiss origin, nevertheless was on friendly terms with Sartre and Jean Eugene who have devoted to an essay to its creativity. Sartre, a known secular lion of quarter Sen - Zhermen, and Eugene, whose scandalous figure in the fifties became absolutely necessary for the Parisian high life owing to the epatazhnosti, at all were not anahoretami. At the same time both of them became godfathers of revolution in Latin quarter and have blest extremism of the sixtieth both in the politician, and in art.
studio Dzhakometti thus appears is involved in vigorous life 60 - h years in not smaller degree, than Beatles and Andy Warhol. The numerous exhibitions devoted fashionable recently to style 60 - h, nevertheless not so like to include its works. Dzhakometti it has appeared one of few artists whom influence of bottoms - arta at all has not concerned and all his life was some kind of opposition to it though ideas of bottoms - arta have grasped almost all minds of Europe and America. Dzhakometti with truly Swiss monotony insisted on the communication with an epoch Greek arhaiki. When all began in Andy Warhol`s imitation to prepare Soup of Kempbell and Soap of Brillo Dzhakometti infinitely repeated the istonchennye sculptures, a silhouette reminding archeological finds of an epoch of bronze, corroded corrosion and time.
the device of any big exhibition of Dzhakometti becomes complicated that does their transportation extraordinary difficult. On the one hand, it is the private fact of the biography of Dzhakometti, with another - a characteristic sign of the XX-th century. Three great sculptors of our century - Englishman Henry Moore, Romanian Brakuzi and Swiss Dzhakometti are the most characteristic examples of transformation of the European understanding of the plasticity based on the antique classics. All three sculptors, so various, one makes related - the appeal to primitive consciousness. All three already on the origin drop out of the main line of development of the European sculpture as the priority in the field of its development always belongs to Italy and Rome. In creativity of Dzhakometti genetically closest to the Italian soil, the understanding of plasticity expressed in words Michelangelo that the perfect sculpture can fall from mountain and remain whole, this precept turns to the contrast. For the sake of expressiveness of a contour of Dzhakometti completely endows unity of the weights, always considered basis of plasticity. Obvious communication with spirit of a gothic style, notable in its art, is besides extraordinary is modern - it corresponds to keen desire of the experiences today providing so great popularity of Neogothic style.