It is probably the case quite often that a real interest is to be found in tracing the way in which a work of art develops. This is not open to us very often, but it can be very rewarding when the opportunity presents itself.
As long-term readers of this blog will know, I have developed quite an interest in Italian modernism. In fact, a number of aspects of Italian history and culture I find very engaging. For my sins I have committed myself to presenting a paper, in May, to the regional Italian Circle, on the work of Renato Guttuso. In particular I will be talking about his Crocifissione (Crucifixion). Although very much a secular painter, he chose the theme of crucifixion for one of his major works. Inspired by Picasso’s Guernica, painted in 1941 this work is a response to his own experience of war. It was immensely controversial as it combined an affirmation of his own left-wing politics with iconography drawn from the traditions of religious art of the European Renaissance.
Researching material for my talk I have come across the fact that several preliminary studies for this piece exist, which trace the movement away from his original response to Picasso, to a far more complex mixing of political and religious symbols. I have spent a good part of the day looking at the development of Guttuso’s idea through four stages. It is turning out to be a really interesting exercise which will repay the investment of a good deal more of my time.
In fact, my wife and I are planning a brief holiday in Rome later in the month when I will have the opportunity to look at Guttuso’s original in the Gallery of Modern Art. I hope to be able to answer several questions the answers to which is not clear from the reproductions which I have seen. It is a fascinating process, the like of which I have not attempted before, and is probably rarely available.