Imbued
with northern culture, Casorati, with this work, ventures into a kind
of painting that shows almost hyper-realistic features in a voluntary
use of kitsch, allowing him to anticipate themes and methods of the Magical
Realism. After ninety years since the first exhibition, Le Signorine
by Casorati is still impressing and troubling as it was during the
10 th Biennial of Venice, when, notwithstanding the little scandal it
had caused (or maybe exactly for this reason), the painting was bought
for Ca' Pesaro.While today the most daring experimentations tend to a
firm reappraisal of painting, the work by Casorati becomes a benchmark
again, due to the multiplicity of themes it encloses, ranging from nude
to still life, from landscape to allegory. If history of art expresses
itself from the outside, the contemporary artist's critical look moves
around other artists' works with a different knowledge to reach creative
results. New art, from the history of art.
Flavia
Scotton
crirical text by Mara Ambrozic
The
peculiar situation depicted in the painting by Felice Casorati links the
four young girls to each other and describes their intimately different
nature through objects and symbolic cross-references the artist scatters
in the surrounding surface. The chromatic contrasts and the allegorical
hints suggest different ways of interpreting each character - Dolores,
Viola, Bianca and Allegra – who, though extremely different from each
other, coexist in an accomplished whole. That's where the resemblance
to the Crash in Progress seems to stem from. This group grounded its artistic
attitude on the attempt to create an “accomplished project corpus” within
which five different artistic personalities act in tune with each other
as individual “autonomous systems”.The work exhibited in Ca' Pesaro is
a mise-en-scène that recreates the complex identity between public
and private creative domains and discloses their moment when they come
together in a single representation.
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