Parma

Rivka Rinn

Galleria Mazzocchi

In our century, the connection between new art and the traditions that have preceded it implies the Picasso model, by which an artist appropriates the most varied techniques, incorporates the most disparate objects and elements, cultivates stylistic discontinuity, and pursues a nomadism of the imagination and experience. Yet, despite such a heterogeneous approach, a characteristic “something” persisted in the work of each artist who followed that model. It may be a particular kind of motif that, for most post-Picasso artists, has signified “form,” in the noblest sense attributed to this word by Western culture. But, even when an artist eliminated the distinctive motif that characterized the work, another “something” always remained discernible and constant: the personality of the artist. This is less easily identifiable, but nonetheless, as in a trial based entirely on circumstantial

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