Lettere da Londra underground (Italian Edition)
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Exploring gender in prehistoric Italy
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Letteratura artistica: Quatremère de Quincy, Letters to Miranda. Part One
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He instead embraced advertising, mass media, and popular entertainment as the necessary avenues to survive in the metropolis. Even before going to New York, Depero had worked in various media, all the while dismantling the boundaries between them. Nonetheless, he had still considered painting to be the most prestigious of all arts.
In practice, however, they proved rather ineffective: nobody took note of them or bought them. In New York, Depero did not paint. For example, in the — Nove teste con cappello Nine Heads with Hat , he made use of the grid structure to evoke repetitive quality of life in a metropolis figure The work does not manifest on a canvas in the style of Mondrian , but on a pillowcase, a practical everyday object.
Significantly, Depero had been making pillows for more than a decade before arriving in New York, but in the United States, he decided to abandon the handmade method he had employed in previous years and instead planned a mechanical production line. He also visited museums and the studio of Constantin Brancusi.
Italy’s compromising politics
We know from his private notes that he encountered Avant-garde works and met important people from the arts world in New York. However, back home he rarely made any mention of these aspects of his sojourn.
For example, he named Katherine Dreier only once: in his autobiography, she is listed as one of the many supporters of his show at the Guarino Gallery. He celebrated the Roxy Theatre and the Paramount building with great enthusiasm, and his publications often focused on popular films, such as the series Our Gang also known as Little Rascals , which primarily features child actors:. They set the house on fire, attached a donkey to a cart full of ladders, ropes and watering cans.
Depero devoted a chapter of his book to this building.