Ronald B. Kitaj, 1932-2007, In Memoriam.
most literary painter. Disturbing an artist whose work always left me mouth open between curiosity, admiration and the feeling that there is so much understanding of his art.
Kitaj Painting was for a trip that began with a painting and ending where circumstances would take. I did not know the place where the journey would take, is that art was a constant search for Kitaj and an attempt to define an answer in any case, always partial, incomplete, insufficient forever - with a "free association" between dreams , literature and obsessions. Kitaj wanted their works leave memorable literary characters as the narrative of Dickens or Dostoevsky.
most literary painter. Disturbing an artist whose work always left me mouth open between curiosity, admiration and the feeling that there is so much understanding of his art.
Kitaj Painting was for a trip that began with a painting and ending where circumstances would take. I did not know the place where the journey would take, is that art was a constant search for Kitaj and an attempt to define an answer in any case, always partial, incomplete, insufficient forever - with a "free association" between dreams , literature and obsessions. Kitaj wanted their works leave memorable literary characters as the narrative of Dickens or Dostoevsky.
texts included his paintings, fiction that is their color, some of which are accompanied by explanatory texts that should be hung on the wall alongside the work. He understood his particular narrative of color as a tool to collect past and present, for the "intertexto'-whether in painting can be called that way", ie for the allusions and cultural references to other painters such as Van Gogh, Michelangelo, Cezanne, Goya, Bacon, Degas, practitioners of literature such as Kafka, Erasmus of Rotterdam, and historical events like the Holocaust, the assassination of John Kennedy. All in a colorful and expressive mixture left in fabrics with free will than an artistic creator lets the tyranny of their own obsessions. In the early sixties Kitaj discovered hitherto ignored his Jewishness, from the time he convinced himself that he would paint such as Cezanne and Degas, but after Auschwitz. The magic derived from their form of artistic practice would have a recurring symbol in his paintings: Joe Singer, "a former suitor when her mother was single," this person appeared in the paint alone, with headset, wandering, carrying their Judaism Kafka slopes as a color and a face that many times was that of the painter himself. The character in his art made this person was perhaps a kind of alter ego for the author, I say to the painter.
Who are these women who appear in his paintings, I asked a lady at the opening of one of his last exhibition in the United States. That woman is my wife, said he refers to his dead wife with the brush I can keep stroking.
While much of Art after the Second World War has been dedicated to the "What is art? and What is the purpose of art?, Kitaj, says The Economist in its obituary, wasted little time in these "questions solipsistic" because "he knew what the main purpose of art: to make us aware of the historical reality of our situation, chained to the body of the World ..." He said well the British magazine, so that has driven me to leave you speechless.
Eye The Lighthouse Bitacora www.heribertorodriguez.blogspot.com 
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