The Old Guitarist

The first thing that comes to my mind when I think about Avant-garde - fluorescent and revolutionary art movements emerging, vivid change, freedom and expression - is the early 20th Century Paris. When one could come across Picasso and Modigliani, Dali and Buñuel, Hemingway and Fitzgerald, Chagall and Kandinsky…, round the busy avenue, or at any given bohemian café. Like we did spring up as a culture through the ancient Greeks, Paris has also shaped the mind and values we came to embrace today. When the Eiffel tower was erected, for the 1889 Exposition Universelle, was also meant to celebrate the centennial of the French Revolution: the event that would establish the ideals of Liberté, égalité, fraternité, along with the Declaration of the Rights of Man and of the Citizen (still having constitutional value in France today!), and much of the ideals of Rousseau, Montesquieu, Voltaire… that are still part of the fundamental western thought.As an European, a world citizen, an individual, I’m thankful. Thankful for living in a mindset that doesn't silence difference, that doesn't perpetuate ideas by imposition, that grants singular development and encourages criticism. Paris, like Athens, will stand as a homeland for those who embody the principles of tolerance and freedom, democracy and philosophy. And to my fellow Parisians, my fellow Athenians, I say: Let us not be scared, let us not compromise the values of our identity.The Painting presented here belongs to Picasso’s Blue Period. It is the saddest phase of his career, and is said to have it’s starting point after the painter learned of Casagemas’ death - who had committed suicide at the L’hippodrome Café in Paris. Latter Picasso fell severely depressed, and the deep melancholy expressed in blue gave birth to many sad pieces. As his depression improved, colourful, vibrant, vivid pink paintings began to sprout, and thus began the Rose Period. Reminding us that better times will come.My thought are, this Wednesday Thoughts on Art, beyond painting, along with pain of our fellow friends. Next week we’ll see how Schopenhauer coped with pain through Art. 

See you then,

Artur Deus Dionisio