MySpace Graphics MySpace Layouts MySpace Backgrounds MySpace Codes Glitter GraphicObserving Desiderio’s paintings is not dealing with impression, but with expression feelings. These are the rational result of ideas, thoughts, and curiosities from inside to outside where the subject prints the object on him. Desiderio proceeds in cycles; he needs to verify through the comparison of two different phases, a certain theme, renewed and repeated with different elements and variations. By doing so, freedom and curiosity become greater, exalting and narrowing the knowledge of a certain theme. The elements of expressionism (Fauves and Die Brucke), and realism (of the first years of 1900), are present in many ways; these elements, after a re-contextualization, become Desiderio’s own, are not simply citations, but, on the contrary, they are known, re-analyzed, and they are, finally, instrumental in reading the contingent condition. Like nowadays, in which we cannot talk about a unique reality, but a numerous and various conditions of what reality is, Desiderio’s means and languages as well, eclectically multiply themselves losing the reality vision but gaining the necessary materials and instruments for the analysis of that reality. The wide production seem to be extremely various and in a way, contradictory, in its different purposes, obtained throughout time.
In fact, is not like this, (apart from a few landscapes and the smart playful experiments), there’s a vision that is strong, coherent, realistic and expressionistic. By taking a look at the last pictures, the most spontaneous marks belong to two tendencies, different and conceptualistically opposed to each other: the French-German expressionism and the objectivism, the European realism, of the first after-war years. By erasing the first meaning, (born from the socio-political situation of those years) what remains is the human uneasiness of these circumstances. In the European realism of the first 20 years we have a negative view of the human concept, and it was clearly opposite to the symbolic idealism of the Expressionism; in Desiderio’s paintings we can find both ways of thinking and analyzing the renewed and modern troubles. The use, whether consciously or unconsciously, of the Expressionist ways and means, is realistically under our eyes: without regrets, within renewed and reviewed mentions: “The skinned Oxâ€, by Rembrandt, reviewed by Soutine in the “Ox carcassâ€, “The woman with bodiceâ€, viewed from backside, mentioned in the “Nightâ€, by Beckmann.
So, the “Oxâ€, of Parisian school, is reborn, in Desiderio’s work, within the pig resemblances, this time accurately selected, the very same selection that nowadays, still, is present in the Umbrian countryside, when, in January, the pig is butchered.Even the message is re-contextualized: brutality does not live within the carcass or in the “sliced meatâ€, but, more likely, within the alternation with naked human bodies, (and they really are butchered meat), everything under anonymous control by women who show backsides (another kind of meat, another kind of selling?), but they keep their faces hidden, for decency, anonymity, or homonymy resons. Reading is possible on multiple levels and layers, the very linguistic one, (adhering to codes and mediums, and to the gestural expressiveness of Expressionism), and the other one, that reveals the multiple signs of past experiences in life, towards the still cryptic frame.
Even the citation of the woman with the corset, personally reviewed in Beckmann, returns, once more near a pig, this time on a whole, and with grotesque resemblances, like it’s teasing what is all around it. Analyzing the context and the dramatic environment of the masterpiece of 1918, this citation could be unjust, or hazardous, but, in both cases, that feminine figure looks, the first is forced to do so, against her will, the second, in Desiderio’s painting, is sadistically aware. In this way we are facing scenes that, more than describing, are questioning us about the subjects’ meanings, which, by presenting themselves, naked, “packedâ€, twisted or blocked in winking poses, show the difficulty of non-finding a “comfortable†position within their own time or place. Moreover, the numerous masks that drawn people (they are characters no more) wear, don’t hide identities, they are not showing foolish ambitions, they are not ideas, but before, worn by necessity, afterwards they become natural parts of the bodies. It seems that the daily life, lived by us facing fears and problems is leading us to a very genetic mutation…..this is noticed in the spontaneous and straight meaning of these anti-gas masks on naked bodies, represented with no modesty, but protected in the intimate sphere. Meat, carnality, are the key-features of Desiderio’s paintings indeed, but, not only this: they are his major contribution as well. This carnality could be grotesque (like Nolde’s works), lithographical, (Heckel), erotic (Schiele’s works reviewed through Freud’s work), obsessive (Soutine), but remains the greatly analyzed aspect of reality, and, at the same time, the most important instrument for an understanding, or, for a simple observation of facts.
Is the women’s meat, above all, that returns, always different, in various and numerous works.
Women’s meat, sometimes young and healthily turgid, posed in shy foetal positions, sometimes disenchanted, with fatty faces, like Botero, sometimes a natural life-flowing medium, in soft desecrated old women’s bodies, sometimes erotically positioned; women’s nipples, wrinkles, backs, glances, are the most complete, useful and needed plans towards the understanding and comprehension of the tested, (but never enough understood), miracle of life.Laura M.S. Tomaselli___________________
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