Anonymous - Two works

18x12 cm
19x27 cm

The work can be defined as a genre scene, that is, the depiction of an episode of everyday life that, apparently, lacks any significant element. These types of domestic subjects were long considered minor and only began to spread in Western art starting in the 17th century. Only with the development of 19th-century realism did everyday subjects become considered as important as historical or religious ones. The Impressionists, in particular, favored subjects related to modern life in urban, bourgeois settings. More specifically, 20th-century art, conducted along the lines of existentialism and the analysis of human relationships, focused on the investigation of a bourgeois world, captured in its everyday gestures and rituals.

From an analysis of the two works, we can see how the artist treats the bourgeois-inspired subject synthetically, aiming to highlight features that are not only physiognomic but also character-specific, in a sort of caricatural/existential expressionism. The forms are drawn with a broad, coarse, nervous, and squared stroke. The space is completely two-dimensional, and the figures are squashed into the foreground. The artist begins with phenomenal reality, with the physiognomy of the portrayed characters, but distances himself for a deeper, existential analysis, always conducted with a language of irony and harshness that has some connection to the German Expressionist movement Die Brucke. We are therefore faced with a type of interpretation that prioritizes the expressive, almost violent, force of the work over its verisimilitude. However, unlike Kirchner, our artist eliminates any trace of existential anguish, remaining in tune with a subtle and amused irony. The palette, with aggressive shades, remains in line with an expressionist/fauvist aesthetic.

As we can see from an analysis of these two works, the artist who created them stands out for his pictorial research that links him to the Expressionist avant-garde. His style is dominated by an advanced synthesis of the subject matter and an aggressive palette, with strong and vibrant contrasts. The predominant tone is one of playful existentialism, compared to his bourgeois subjects.

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