Trans-surrealism...
12:19 p.m.
30/09/19 - Mariette Lydis was born in Vienna in 1887 as Marietta Ronsperger, she got last name Lydis from her first marriage. She lived in many different countries since, threatened by war, found refuge in Argentina. Here he portrayed the society of her time. Her art consisted mostly of portraits, with melancholic faces and, in some of them, a certain surrealism. This might be why the Museo Sívori (a space the artist cherished specially) describes the works as transitions from Surrealism. The title of the exhibition cannot be verified throughout the exhibition: only in some paintings do we find traces of Surrealism. The works on display are the paintings the artist bequeathed to the city.
Jeune femme aux aiseaux, by Mariette Lydis (1938)
Jeune femme aux aiseaux, by Mariette Lydis (1938) - Negative
Silence, by Mariette Lydis (1942)
The first gallery displays a series of photographs belonging to the personal archives of the artist: most of them show female faces, almost childish, with an array of hats and flowers.
Historia de una silla, by Mariette Lydis (1967)
Technique: oil on canvas / Measures: 55 cm x 46 cm
James Dean y las pesadillas, by Mariette Lydis (1959)
Technique: oil on canvas / Measures: 85 cm x 71,5 cm
Engranajes detenidos, by Mariette Lydis (1958)
Technique: oil on canvas / Measures: 44.1 cm x 33.3 cm
El ojo del universo, by Mariette Lydis (1967)
Technique: oil on canvas / Measures: 55 cm x 46 cm
One of the walls in the museum presents several artworks that reveal Lydis pseudo-surrealism: a series of objects with no reasonable explanation, removed from any aesthetic consideration. These objects lose their definition or natural identity to become something new, charged with poetry. A fish, a coin purse, an opened book, a theatre curtain and a door which "opens" the painting. The atmosphere Lydis tries to depict is charged with tension, like the chair that holds a pair of hands and alters the way we comfortably feel as viewers.
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