07/09/2009: "The Ruling Class"

Back in April 2009 a reader of my Blogs for AbsoluteArts posted the following comment:
�On the www.albertosughi.com website there is a very powerful painting called "Ruling class". Would love to participate in a discussion on that piece.� Since then I committed myself to holding such a discussion and today I will try to maintain that promise. Possibly in order to understand The Ruling Class (�La Classe Dirigente, Oil on Canvas, 165x140cm, 1965) we need to place and read it in the context of another group of works also painted between 1964 and 1965. So let�s start by examining the Historic Moment (L�Ora Storica), a work I painted at the end of 1964 and that clearly is a prelude to The Ruling Class itself.

This is a triptych, 165 by 420 centimetres, one of the paintings that most reflect if not the world of Bacon, at least Bacon�s style, clawing at the canvas, his very open way of painting first on unprepared canvas, with a great sweep of background colouring, that had a strong influence on me. I felt most attracted to three painters: Degas, Munch and Bacon. In fact, I then felt an affinity between them, even if secretly, not from the thematic point of view, but as a way of confronting the canvas, a great affinity between Degas and Bacon.

In fact, Bacon was influenced by Sickert, who was influenced by Degas, and had a certain way of painting nudes that could also allude to the scabrous style of Munch. A painter who has no problems with poetics, because he is sure of always being himself, does not have any difficulty in stealing from others what can serve for his own paintings. I mean that painting derives from painting, but is continually modified when it meets an artist who is not contaminated by the poetics of someone else, but appropriates methods, techniques, ways of giving strength to his own imagination. This is a painting, a triptych. It has Bacon�s style, but does not represent anything that Bacon�s work represents. It is a painting inspired by the criticism of the Italian political world and the refusal of the �historic compromise�. We are afraid of governments, afraid that someone will stand at a black pulpit or on a black throne. When I painted the black of the desk I was even reminded of Malevitch�s black square. And then there is a figure without a face getting up, in the act of taking off his jacket in readiness for command. If we want to digress to consider the subject-matter, I could have stolen the title from Goya, �The sleep of reason generates monsters�.

Immediately after the Triptych I worked at a group of new paintings: Man at the window 1964 , Man with a dog 1965 and The Ruling Class itself.

In this group of paintings there is, in comparison with my previous work, the addition of a geometrization above the figures or imprisoning them, locking them in, as in a cage, or giving them greater prominence, as in Man at the window, who is looking out from the inside. Even in Man with a dog there are two lines, almost pointing to the door out of which the master is coming, and the dog goes towards him. Above all in The ruling class we see some geometrical shapes overhanging the figures. There is a geometrization that was previously absent and that is very clear during this period. In commenting on these paintings I can say that every time that I have faced the problem of The Ruling Class - even the Triptych faced that problem - I have always spoken of it as if the reason could be found there - the root of the discomfort of contemporary man - almost as if really the job of the managerial classes is to make life easier for everybody. Whoever has the job of redistributing wealth and power, of making the rules, is rather, in effect, a figure who doesn't have anything to say to others, but only to himself.

Today we speak of a political caste. Every time that I have represented anything concerning politics, I have always spoken as if it is a caste. And it is strange that even in a painting that was painted much later, in the eighties, but that is connected with these themes, called Roman Sunset, we see politicians bowing, kissing a naked woman who represents corruption, representing everything that a powerful Rome manages in inconceivable ways. As if to say that those who represent us represent nothing more than themselves, and that we are therefore alone in dealing with something that will never arrive, like the man, like men standing at a window and waiting for something, a person or an event, that will never come.

Once the painter and novelist Dino Buzzati, speaking of my painting, said that it reminded him of Waiting for Godot by Samuel Beckett, men waiting for something that will never happen. He was perhaps thinking of his The Desert of the Tartars, but, in fact, I do have an idea that Man cannot find something that he knows could exist, but that is hidden who knows where. After all, if I wanted to describe these characters, I would say that they propose the figure of a man who would like to wait and believe, but who has lost the faith for believing.

Alberto Sughi
For more info on Alberto Sughi see. www.albertosughi.com

Replies: 24 Comments

on Tuesday, August 25th, newegg coupons said

I think i can only be so embarrassed for Alberto, when the unstable are allowed to ruin a dialog - by one of few long-lasted world-renown artists of our time

on Sunday, August 16th, Kamala said

"Who isn't crazy?
Who is free of melancholy?"

by Robert Burton, The Anatomy of Melancholy, 1621

on Tuesday, August 11th, Fazzino said

Great paintings and an even greater discussion to follow. The dark, satirical flavor of a lot of the pieces here definitely leave one with an artistic taste that is difficult to remove from one's senses. Great stuff...

on Tuesday, August 4th, Kris-T said

I was hoping to get some feed back on the site my husband and I put up. He's a great artist and has been painting almost his whole life but never professionally, anyways, I would love to know what you all think about his art and the website. If you have any comments or suggestions please email me and let me know and if you know of anyone that would like our site, please spread the word =D The website is www.skingstudio.com My email is good2boog@yahoo.com Thanks everyone.

on Tuesday, August 4th, Kris-T said

on Sunday, August 2nd, BradMM said

The powers here that be, do not follow their own might over their most public feature, or else they wouldn't torture their contributors, and sincere readers. God help the sick ones. I can only be so embarrassed for Alberto, when the unstable are allowed to ruin a dialog - by one of few long-lasted world-renown artists of our time - who wishes to communicate with us his vintaged POV. It is not professional, nor intelligent, to ignore safeguarding of your greatest valuables whilst away. A few safeguards here - like a moderator, or an editor's approval of responses - before they are published - like that is done at every other blog site I ever visit with a high public profile - that, that would suffice. As it is - we must allow our let treasures to fall where they will (out of existence) - when they are not watched over by caregivers...

on Sunday, August 2nd, BradMM said

On Andrew's Comment...
"Or not..." - bmm

on Saturday, August 1st, translation said

Thanks to all for your precious comments about my blog. And thanks also to Andrew and Mario, who always help me with the translations. Certainly, Mendy, I read all the comments with great pleasure and attention. Now, however, it has become quite difficult to follow our discussion. A shame.
Greetings, let it be soon again,
Alberto

on Friday, July 31st, Alberto Sughi said

Grazie a tutti voi per i preziosi commenti al mio blog. E grazie anche ad Andrew e Mario che mi aiutano sempre con le traduzioni. Certo Mendy li ho letti tutti i commenti e con grande piacere e attenzione. Adesso pero' diventa molto difficile seguire il nostro discorso. Peccato. Un saluto, a presto, Alberto.

on Friday, July 31st, buy lasix online said

Hi *********! edy

on Friday, July 31st, Andrew said

An axe to grind, and too much free time. There is a lesson in this. Being effective is what it's all about, not how you go about being effective. This string of hi ********* stuff has had a greater effect than many of the most sincere comments made here. The very idea of doing something like this, negative though it may be, should suggest something to creative people out there trying to get someone to listen to them.

on Monday, July 20th, translation said

Sono stato il lettore che ha commentato sul Vostro blog.
A prima vista, gli imagini sembra d'essere di uomini potente incontrandosi in una grande sala. Dopo un'ulteriore indagine, tanti delle figure sono skeletrale e simile a fantasmi. Un commento sulla natura etereale di potere? Gli portale che portano verso il salone di potere sono notevolmente linear, decisive, e in forte contrasto alle figure. Gli uomini potente possono anche sbiadire, ma il salone rimane pronto per una nuova generazione di giocatore di potere.
Non c'e l'ho l'adestramento formale nel arte, e possibilmente sto entrando oltre la mia capacita, ecco perche volevo ingagiarVi a discutere un po questo quadro potente.
Cordiale saluti,
Mendy

on Friday, July 17th, Coverband said

Amazing paintings! You're right lily, the very dark colours make the "feeling" very unusual.

on Friday, July 17th, art jewelry said

Alberto,

I was the reader that commented on your blog.

At first glance, the images appear to be of powerful men meeting in a large room. On further investigation many of the figures are skeletal and ghost-like. A comment on the ephemeral nature of power? The portals leading to the hall of power are strikingly linear, bold and in sharp contrast to the figures. The men in power may fade but the halls remain ready for a new generation of power players.

I've no formal art training and perhaps am off base, but that is why I wanted to engage in a discussion on this powerful painting.

Regards,

Mendy

on Tuesday, July 14th, Andrew said

As of yet, there haven't been any questions, but if there are, I'll be happy to translate them. Alberto, a questo punto non sono ancora arrivata nessuna domanda, ma quando arriva la prima, saro contento di tradurla.

on Tuesday, July 14th, mario said

Hi Elizabeth
does the book you mention cover the story of Japanese artist Yoshihiko Wada who by plagiarizing Alberto Sughi's work in 2006 managed to place his paintings in some of the major museums of Japan and to obtain some major arts awards in his own country? Please let me know because in this case I would become interested in having a copy of the book myself.
Kind regards
Mario
Studio Sughi

�A review panel including three of the seven judges that awarded Wada the prize concluded that there was insufficient evidence to suggest Wada did not plagiarise Sughi's works. As a result, the Agency for Cultural Affairs decided on June 5 to strip Wada of the prize making it the first time in the prize's history that an artist was stripped of the award.�

*
news.bbc.co.uk/2/hi/asia-pacific/5049840.stm
**
en.wikipedia.org/wiki/Yoshihiko_Wada

on Monday, July 13th, Betty said

The analysis and parallels drawn between the artists and their art work shows knowledge. It is engaging! The chosen artwork really ties in well with the subject matter. Life on top or in the fast lane could often appear lonely. Temptations are plenty and risk taking is a way of life. Regardless if we find this attractive or not, we�re only humans with the same fundamental needs. No, there are no super heroes but we should all strive to be. So hold on to your hat when the wind picks up and you should be just fine. There�s nothing wrong in dreaming a little too if that makes us happier.
- Betty

on Monday, July 13th, Elizabeth Yeh said

Hello,

We recently published a new book that I thought you would be interested in. PROVENANCE: How a Con Man and a Forger Rewrote the History of Modern Art by Laney Salisbury and Aly Sujo is a captivating real-life investigation of how John Drewe and John Myatt managed to fool prominent museums and private collections into accepting forgeries.

Please let me know if you�d like a copy of PROVENANCE, or perhaps additional copies for giveaways on your blog.

Thank you,
Lizz Yeh

on Sunday, July 12th, Cecil Herring said

Interesting you mention Francis Bacon. I am in love with his incredible work. I am so taken by his analysis of the human race. His portraits sing life and reality. There is nothing banal or sweet about his images. They are drawn in the cold light of mankind's wavering sincerity and general depravity. I studied with Hiram Williams, an irritating and chauvinistic U. of Florida art professor who was a devotee of Bacon. When I asked to see his work he said archly, "women generally don't like my work."

on Saturday, July 11th, Ellen said

What a wonderful journey! It is incredible to see things the way that you do, Alberto, and to be able to communicate your thoughts through your amazing paintings and words!

on Friday, July 10th, BradMM said

Very insightful, Alberto, and a great value to your works here for others to study henceforth. - BradMM

on Friday, July 10th, lily cultura said

I find his paintings majorly with very dark and cold colours. People's faces are described with severity and the connecting of figures and objects is very intriguing for me! Maybe his style of painting was also strongly influenced by the epoch he lives in.

on Thursday, July 9th, Joe said

Fantastic Blog. I wish I could see all his work!!!

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07/09/2009: "The Ruling Class"