No. 14 / 20 · Movements, by Gastón Solís

Il Gesto Privato

transavanguardia of the everyday

Galleria Lucio Amelio, Sala di Consultazione · Napoli · 1983

Il Gesto Privato, No. 14 of Movements, by Gastón Solís

The harlequin has been painted on stage, off stage, sleeping, drinking, in love, in mourning, and most often standing very still in a costume he did not choose. He has rarely been painted in the act of doing what every harlequin must do at some point in his morning before he can put on his ruff and go out and be funny.¹ The figure here wears the green collar and the white face and sits on the white throne in the same posture an emperor might. The painting is the size of an altarpiece. The subject is the size of a seated jester.

¹ Cf. Bruce Nauman, Clown Taking a Shit, 1988, lithograph, edition published by Brooke Alexander Editions, New York; The Museum of Modern Art, New York, acc. 199593. Nauman's lithograph, made five years after the present painting, approaches the same image through the conceptual idiom of his clown-suffering series of the late 1980s. The two arrivals — one painterly, one conceptual — independently confirm that the subject was available to the period.

Provenance

The artist’s studio, Roma; Galleria Gian Enzo Sperone, Roma, by 1981; private collection, Milano, 1981–1996; lent by the above to the Galleria Lucio Amelio, Napoli, for Il Gesto Privato, 1983; sale, Finarte, Milano, 14 May 1996, lot 87; the present collection.

The book

MovementsGastón Solís Index of works

The collection

Det Stille InteriørNo. 01 · Det Stille InteriørEl Cuerpo SolitarioNo. 02 · El Cuerpo Solitario

Private MarksNo. 03 · Private MarksThe Weight of the DayNo. 04 · The Weight of the DayAl-SākinNo. 05 · Al-SākinBetween the Empty and FullNo. 06 · Between the Empty and FullVisarjanNo. 07 · Visarjan

Forme & SilenceNo. 08 · Forme & SilenceHomage to the Seated FormNo. 09 · Homage to the Seated FormLe LecteurNo. 10 · Le LecteurIl Corpo AssenteNo. 11 · Il Corpo Assente

Knees BentNo. 12 · Knees Bentthe DepositionNo. 13 · the DepositionIl Gesto PrivatoNo. 14 · Il Gesto PrivatoStillness in ColorNo. 15 · Stillness in Color

OccupiedNo. 16 · OccupiedThe Unfinished FigureNo. 17 · The Unfinished FigureSubway RitualNo. 18 · Subway Ritual

Die Schwere StundeNo. 19 · Die Schwere StundeThe Small RoomNo. 20 · The Small Room

Reflection

The Church appointed a patron saint to nearly every room of the house. Lawrence to the kitchen, Jerome to the study. The dining room was awarded two, Martha for the host and Zita for the staff who served, with an image of the Last Supper hung above the table and a blessing said over every meal. At one door the coverage stopped. Intake received a sacrament, output received a demon.

L’Église a attribué un saint patron à presque chaque pièce de la maison. Laurent à la cuisine, Jérôme au bureau. La salle à manger en reçut deux, Marthe pour l’hôte et Zita pour le personnel qui servait, avec une image de la Cène accrochée au-dessus de la table et une bénédiction dite à chaque repas. À une porte, la couverture s’arrêtait. L’entrée recevait un sacrement, la sortie un démon.

La Iglesia asignó un santo patrono a casi todas las habitaciones de la casa. Lorenzo a la cocina, Jerónimo al estudio. Al comedor le tocaron dos, Marta para el anfitrión y Zita para la servidumbre, con una Última Cena colgada sobre la mesa y la bendición de los alimentos en cada comida. En una puerta se acababa la cobertura. La entrada recibía un sacramento; la salida, un demonio.

Die Kirche hat fast jedem Zimmer des Hauses einen Schutzheiligen zugeteilt. Laurentius der Küche, Hieronymus der Studierstube. Dem Esszimmer wurden zwei zugesprochen, Martha für den Gastgeber und Zita für das Personal, das bediente, dazu ein Bild des Letzten Abendmahls über dem Tisch und ein Tischgebet zu jeder Mahlzeit. An einer Tür endete die Deckung. Die Einnahme erhielt ein Sakrament, die Ausgabe einen Dämon.

教会几乎为家中的每个房间都指派了一位主保圣人。厨房归劳伦斯,书房归哲罗姆。餐厅分得两位:马大护佑主人,齐塔护佑侍席的仆役;餐桌上方挂着一幅《最后的晚餐》,每餐都要念一段祝祷。到了某一扇门前,覆盖范围就此止步。入口领受的是圣事,出口领受的是魔鬼。

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