ART, THE KEY TO INDIVIDUALISM.. |
As it relates to Oscar Wilde. |
By: Angela C. |
ART, THE KEY TO INDIVIDUALISM..
Museum of Latin American Art, MOLAA
???Lecture to Art Students??? (1883), Oscar Wilde
* Art pieces that portray politically and socially charged themes, displayed at MOLAA:
1) ???The centaur of the conquest??? or ???El centauro de la conquista??? (1945)
By: David Alfaro Siqueiros (Mexican, 1945)
* What I see / My take: Black and white images that are chaotically joined together within a spiraling whirlwind. The main element is exposing itself from the center, to show a two-sided muscular arm of a man, with a prevailing sword and devout cross at each end.
* Possibly to demonstrate the artists??™ desire to make a strong affirmation of ultimate triumph over his and/or Mexico??™s, struggles. Mexico??™s artists are typically of Catholic and Christian faiths, proving they are counterpart in their claim; that God will forever prevail.
By: Arnold Belkin (Lived and worked in Mexico, 1951)
* What I see / My take: Barefoot, a man and a woman stand, he looking onward, she looking another direction. There is a crowd of people behind them, expressionless though, and neither looks back towards the crowd. He holds his hand to his forehead as if in despair, and the woman has an obvious look of sorrow or hesitancy.
* I see a couple trying to escape, perhaps the poverty of Mexico (). The man is expected to stay strong but the woman does not move on freely. They look for a better life, but there is a price to pay.
3) ???Our Image??? or ???Nuestra Imagen???
By: David Alfaro Siqueiros (Mexican, 1950)
* What I see / My take: There is yet another black and white figure from the same artist (as; ???The centaur of the conquest???), this time he depicts a faceless man, lying down with his hands tied in front of him, hands stretched. It looks as if he is struggling to break free or maybe grasping for help, but he has no eyes to see or mouth to speak.
* This, to me, is a very clear statement of Mexico??™s lack of freedom and growth within the underprivileged populace.
4) ???Untitled???, but written within the artwork it reads; ???Aquella mujer bella que un loco por odio destruyo.???
By: Carlos Luna (Cuban, 1969)
* What I see / My take: A beautiful woman drawn of charcoal, attractive shades of grey and white, is fascinatingly strewn amidst the center of the painting, yet somehow retaining her beauty. In no way do I find this morbid, even with her lack of expression, as she is more than adorned by the artists??™ strokes.
* When we translate what is written; ???That one beautiful woman who a crazy person, by hatred , destroyed???, we can feel that this was probably created through a profound upset in the life of its creator. Maybe a love triangle, or worse yet; only jealousy. Whatever the case, I felt it was true art with actual definition.
5) ???Untitled???, but illustrated; is a genderless, yet fine; silhouette of a person.
By: Tania Bruguera (Cuban, 2003)
* What I see / My take: Although the outline lacks a firm gender, the very forthright performer turned artiste, is nothing but precise and direct in demonstrating the significance. The only colors notable is the brown used to darken the prolific amount of nails in the mouth of our ???main attraction???, and the red painted in horrific amounts, ejecting from any open space that the lips could endure.
* This painting in particular, I could not completely ingest, and with only scant knowledge of her country (other than the ???stolen??? and self-proclaimed Presidency, by once attorney turned Prime Minister; Fidel Castro), I did not wish to assume. However, upon researching Bruguera further, I confirmed her rebellion, and alas; was able to enjoy her diverse techniques, yet insufficiently represented; fight for her country.
6) The example for my 6th piece of art, I would instead, like to use one that I would personally have to top the list with; a portrait of my son, my baby boy; Robert Emiliano Lara, so named after my exceptionally unique Uncle Robert and also after Emiliano Zapata, by his father. Zapata is, in fact, the owner of one of our favorite quotes:
???I would rather die standing, than to live on my knees.???
* Canvas generously donated by: Jose N. Lara, outstanding husband and exceptional father, a cut exceeding the rest!
* Last of all, but of the utmost significance; my association of the aforementioned art, to Oscar Wlde, the mischievous, yet well-to-do, witted writer.
* Again, going beyond what I have in print before me and unable to control my curiosity, I research more of Wilde??™s quotes, of which I will share:
* All that I desire to point out is the general principle that life imitates art far more than art imitates life.
* Every portrait that is painted with feeling is a portrait of the artist, not of the sitter.
* Illusion is the first of all pleasures.
* Morality, like art, means drawing a line someplace.
* Art is the most intense mode of individualism that the world has known.
* What I see / My take:
Considering that he had a torturous life, hidden from his true self for the liking of others, ultimately dying when finally free, I believe he may have agreed that; life is never completely understood, reminiscent of my confusion in my interpretation and understanding of what the art was truly representing. Were they emulating their lives, or were their lives emulating their art Just as Wilde expressed, the portrait is for the artist and not the sitter. Also, in stating that illusion is the first of all pleasures, was he then stating that he portrayed himself as something contradictory to the truth I despondently, would have to agree this to be true. In his time, the late 1800??™s, he was shamed by society, accused of living immorally, and finally imprisoned simply for being himself, one who enjoyed relations with other men. His quote concerning morality, I am sure was written in an unsettled frame of mind, but it is his quote relating individualism to art, that I believe unveils his true character; I think that it was only through his art that he could, in the end; be himself; an individual without a label.