26 May - 15 July 2004 | Milano, Museo della Permanente
Curated by Alberto Fiz and Francesco Poli
The exhibition dedicated to André Derain (Chatou 1880 - Garches 1954), focuses on an ambiguous period of the master, between the years '20e the '40s. The editors have decided not to propose the "usual" Derainfauve or "proto-Cubist," but rather to investigate the alleged "return to order". A survey involving Derain's work as a whole, from painting to drawing to sculpture, leaving only the activity for the theater, for a total of 70 papers. In addition, a small section of 13 paintings illustrating the influence of contemporary Italian deraniana art, with works by ropes, De Chirico, Carrà and Severini, among others. It should be emphasized also the collaboration of the Foundation Maeght, who served as many as 18 jobs.We therefore concentrates sull'inattualità Derain, alongside Picasso and Braque until the mid-teens, and then secretly destabilize the traditional environment, as observed in this period artists such as Giacometti eBalthus. Because Derain painting back to "classic" selecting a battery of masters such studies themes and styles, producing a sort of d'après remains recognizable. Comes in this way to a '"archipeinture" which enjoys a freedom paradoxically result of constraints, as in Bellydancing hyper-coded. References are therefore the Italian classics, but also Cézanne and "primitive" art known by Gauguin.
The female nude is the subject that most emphasizes the individuality of research derainiana in Nu debout (1934-39) and even more in the famous Nu debout et Still Life (1936-40), with the literal underscore the curve of her breasts in contrast with soft facial features. That same stretch being announced in the handwriting of the disturbing and puppet-Repas aux chiens (the '30s). But it should also be reminded of the plastic research, with bronze heads that mix African and Etruscan influence, never cedereal mimicry or physiognomy, until adarrivare all'Homme aux clefs (40s) made ??of thin sheets of iron roughly shaped. An authentic counterpart than sometimes erotic nudes drawn with a very light pencil blood. Well, certainly can not be argued that the art of Derain has become purely mannerist and provided you still see the wind that sweeps the leaves in the Parc de Chambourcy (1948 ca.) To realize this.