La joconde de salvador dali

Thursday, October 24, marquages the opening of one of the year’s many anticipated de lart shows, a Leonardo là Vinci retreat at the persienne in paris that celebrates the 500th anniversary du the Renaissance artist’s death. Through that seul in mind, listed below is a Salvador dalí essay on one de Leonardo’s many iconic works, the Mona Lisa, which showed up in auto March 1963 issue of actualidadgay.com. Title “Why castle attack auto Mona Lisa,” thé essay features musings nous why people ont felt inclined à deface or steal the photo throughout history. The essay complies with in full below. Review Leonardo scholar guttin Kemp’s analysis ns Dalí’s essay here. —Alex Greenberger

“Why castle attack thé Mona Lisa”By Salvador DalíMarch 1963

It was inescapable that Salvador contrairement à should expose publicly why the Mona Lisa—a “simple portrait” painted passant par the many complicated et ambiguous of tous artists—has had a power, originalité in all art history, à provoke thé most violent et different kinds ns aggressions.

Vous lisez ce: La joconde de salvador dali

The Mona Lisa has actually undergone two henchmen species du typical strikes on elle archetypal presence:

1. The ultra-intellectual aggression, perpetrated de the Dada movement. Marcelo Duchamp, in 1919, draws a mustache conditions météorologiques a photograph ns the Mona Lisa, and at thé bottom cette letters thé famous engraving “L.H.O.O.Q.” (Elle a chaud venir cul).

2. The primitive jaune naïve belles of aggression, perpetrated passant par anonymous more-or-less Bolivians. Cette consists either of throwing a pebble at thé picture or temporarily thefts it.

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The first is a case of aggression by an artist versus a masterpiece the embodies the hautement artistic idealization. Ce is defined by année insight ns Freud whose très cool definition du the Hero is: “The homme who revolts versus the gouvernement of the father et finally overcomes it.” This an interpretation is auto antithesis of Dada which represented a culmination of thé anti-heroic, anti-Nietzschean attitude venir life. Dada seeks auto anal, erogenous zone ns the Mona Lisa, and while accepting auto “thermic agitation” du the Mother as a Work-of-Art, rebels against its idealization de masculinizing it. Dada paints thé mustaches ns the father on the Mona Lisa to enlist his help in the denigration of the Art. In this gesture, thé anti-artistic, anti-heroic, anti-glorification and anti-sublime aspects de Dada, epitomized.

To explain the “naïve aggressions” against the Mona Lisa, bearing in mind Freud’s revelation du Leonardo’s libido and subconscious erotic fantasies about his very own mother, conditions météorologiques need the genius ns Michelangelo Antonioni (unique in auto history ns cinema) to cinématique the following sequence: A simple naïve son, potentialism in amour with his mother, ravaged de the Oedipus complex, visits a museum. For this naïve, more-or-less Bolivian son, the musée equals a public house, public rooms—in est différent words, a whorehouse, et the resemblance is reinforced de the profusion hey finds there ns erotic exhibits: nudes, shameless statues, Rubens. In thé midst of all this carnal et libidinal promiscuity, thé Oedipean le sien is stupefied à discover a portrait of his won mother, transfigured passant par the hautement female idealization. His own mother, here! et worse, his mère smiles ambiguously at him, which, in his surroundings, can seul seem equivocal and outrageous. Assault is his une possible response to together a smile—or he can steal the la peinture to hide ce piously from thé scandal and shame of exposure in a auditeur house.

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Anyone who can offer various explanations de the attacks suffered de the Mona Lisa should cast his first stone at me; je will pick cette up et go conditions météorologiques with mien task du building the Truth.