![]() īetween 19 Giacometti's sculptures had a maximum height of seven centimeters (2.75 inches). ![]() His insecurities nevertheless remained a powerful motivating artistic force throughout his entire life. His critical nature led to self-doubt about his own work and his self-perceived inability to do justice to his own artistic vision. Giacometti wrote texts for periodicals and exhibition catalogues and recorded his thoughts and memories in notebooks and diaries. Around 1935 he gave up on his Surrealist influences to pursue a more deepened analysis of figurative compositions. Philosophical questions about the human condition, as well as existential and phenomenological debates played a significant role in his work. His work was particularly influenced by artistic styles such as Cubism and Surrealism. Giacometti was one of the most important sculptors of the 20th century. Beginning in 1922, he lived and worked mainly in Paris but regularly visited his hometown Borgonovo to see his family and work on his art. Instead of the pre-pubescent boy displayed in antiquity, Ganymede was transformed into a youthful but manly figure."Grand Prize for Sculpture" at 1962 Venice BiennaleĪlberto Giacometti ( / ˌ dʒ æ k ə ˈ m ɛ t i/, US also / ˌ dʒ ɑː k-/, Italian: 10 October 1901 – 11 January 1966) was a Swiss sculptor, painter, draftsman and printmaker. Ganymede in paintings throughout the eighteenth and nineteenth centuries began to shift in appearance. Male prostitutes were commonly referred to as 'Ganymedes' in the eighteenth century. In poetry, plays, and even common parlance, Ganymede came to stand for both paedophilic and homosexual tastes. The god promises them to the boy 'If thou wilt be my love.' This is hardly surprising from Marlowe – he knew the classics well and is said to have declared 'All they that love not tobacco and boys are fools.' Yet even Marlowe here presents Ganymede as a mercenary lover. Christopher Marlowe's tragedy Dido, Queen of Carthage (1594), sees Ganymede on stage begging for jewels from his lover Zeus. Some transgressive artists would continue to make explicit references to Ganymede and Zeus' sexuality. This interpretation would give later Christian artists an excuse to paint Ganymede, and his rounded buttocks, with such tender brushstrokes.Įven as they emphasised the Christian message of this scene, homosexual artists of the Renaissance were not blind to the more obvious meaning of the Ganymede myth.ĭamiano Mazza (active 1573) (attributed to) The National Gallery, London Even in antiquity, there were those that saw Ganymede's flight into the sky as a metaphor for the soul's journey into heaven. The second reading of the narrative saw Zeus' abduction of Ganymede as a deeply spiritual one. The plays of Aristophanes contain lacerating lampoons of 'men-lovers'. ![]() Any man who carried on sexual relationships with other adults could expect to find themselves deeply ridiculed. ![]() Many Greek poets lamented the first growth of a boy's beard because that was the age at which their relationship had to end. The pederastic partnership was also heavily hedged about with social rules. The older lover would typically have a wife at home and the younger lover would be expected to marry a woman later in life. These relationships were not what we would today call homosexual. Uli Nimptsch (1897–1977) Britten Pears Arts
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |