Following JABRO’S comments to her masterwork, titled
"THE THIRD CRY", by JABRO
"THE SECOND CRY", by G. ERRO
"THE FIRST CRY", by E. MUNCH, created by JABRO in 1976. ©. 1. The main topic, which I have taken up again and for years, is the psychoanalytically interesting sphere of the manifold possibilities of inter-human relations, here shown in symbolising cold colours of mainly blue variants. 2. The group of the three different portrayals on the picture horizon of my masterwork has - although each time looked at from a different starting position - every time one basic theme, of which also - again optically differently presented - the seated group of figures (on the right hand side of the picture) impressively gives evidence in view of the spiritual and real disconnections of today’s humans in any respect. 3. Top left, horizon picture group realised as JABRO’S invented "Paintings in Painting" from left to right: Rudolf Hoflehner, the sculptor and painter of subjectively sublimed gender-like symbols out of welded metal, is theatrically showing off in front of a gifted portrait photographer.
It seems, the photographer wanted to create a situation following that of Edward Munch’s "Silent Scream", by asking the artist Hoflehner to produce himself "silently screaming" in front of his own, three-diemensionally created painting, which he names "The Soundless CRY", just an impressive stagy, but somehow realistic and honest instant photo too. 4.) Top middle, horizon picture group’s middle: JESUS CHRIST, the spiritual symbolised three-dimensional CRY, seen in form of the following threefold andrealistic protest:
a) As a similar created impression of a kitschy art conception (published around the turn of the Nineteenth Century) created in (contrary to the BLUISH main conception) exceptional warm colours in a palette of REDDISH with sparklers of yellow and orange. (Meaning one more of JABRO’S many invented "Contrast-Pairs")
b) The spiritual ideology of HIS human message of the later formed and established Christian religion, in steady sequences of time politicized, commercialized, demoralized, dehumanized and trivialized by the representatives of this message, the relevant churches’ clerics and their questionable, dogmatic institutions.
c) The confrontation with HIS time’s ungrateful ignorance despite HIS greatest samples done of (FOR-) GIVING without expectations.
HIS most humble living of deprivations,
HIS lifework for others of most ethical humanity at its best,
HIS most undeserved suffering and
HIS most unjustified death on the cross. In fact, this gruesome murder on the cross also can be seen (independent from its spiritual-religious destination) as an "excuse" and (questionable) "justification", (mis-) used only as a convenient purpose for covering (with aid of religious ideology) such unforgivable crime of inhumanity! (Thus, THE question still remains: did HIS death on the cross clearly happen, because of spiritual-religious destination (*) supposedly predicted already about three thousand of years before HIS physical birth, or was it indeed forced by humans’ DNA, based on its inflexibility of 80% in every respect, which leaves hope only for 20% flexibility of essential insight and wisdom to positively work with?)
(* ONE for ALL and ALL for NONE) 5) Top right, horizon picture group’s right hand side: Hans Bellmer, the painter, graphic artist and sculptor is using his life’s "screaming CRY" as a symbol in the sphere of the sensitive erotic and brutal sexuality.
He understood it masterly to carry out his partly questionable, but new type of ideas by using a perfect, manual proficiency. In this case JABRO used a photo of Bellmer’s modelled three-dimensional sculpture to paint it in three dimensions, as the pictorial three-dimensionality of his sculpture with female attributes.
His life of frustrations and deprivations,
His artistic lifework of subjective-sublimated transformation,
His spiritualized feelings of any kind of suffering, which always reveals itself in his artistic enterprises. 6.) Middle to right hand side of the painting’s room division: Pictured the seated group of the Biedermeier-dolls portrayal, which represents within a certain symbolic content the same, just mentioned problem of suffering and disconnectedness, but articulated from a different viewpoint, e.g.
a) At a quick glance, the group seems to be a combined unit.
b) However, this first impression defies itself since the real unconnectedness of the symbolized and individual subject to each other person is shown, such as
c.) Through the groups of hands, stretched out into emptiness, that cannot find each other.
d.) By direction of the pairs of eyes, which do not meet each other.
e.) Through the unrealistic viewing of space - because of distorted or missing presentation of perspective, thus unable to document the three-dimensional deepness of a room, respective landscape. So, its consequential one-dimensionality is representing just a flat and irrelevant background only. 7.) In contrast to this, several times offered basic theme of disconnections to each other, the space on the left side of the picture is, thematically as well as formally, handled in a totally different way. Symbolisms and archetypal shapes are emerging. This comprehensive composition of objects, organic matter and animal parts mirrors one of many possibilities of the subjectively, dreamlike experienced sur-reality of the unconscious mind. In spite of three-dimensional handling of the painting’s spiritual and practical media, the fantastic representation appears two-dimensional clichéd, but corresponds well with the flat background of one-dimensionality. Other worded, this apparently non-three-dimensionality of the painting’s left side archetypal formations and therefore the illusory, thematic and formal unconnectedness to the other picture events is pictorially offset on the one hand through the formal and colour-determinated alignment of - as seen by the observer - the right pair of wings with the background, which, on the other hand, logically determined by its neutral and at the same time imaginatively handled division of space, presents a link with both picturesque elements of pictorial reality and spiritual surreality. Following JABRO’S novelties and inventions © for the fine arts, to discover in this masterwork, such as: The (subjective-sublimated) compositionally handling of different oppositional, but indispensable facts and hypothesises of sur-reality and reality = “Contrast-Pair”, are the base of the here shown, worldwide unique "Graphicpainting", ©, titled “The Third Cry”, 1977, ©. Its topic contains too a few of JABRO’S other (all in all) eleven inventions and novelties for the fine arts, such as the three "Paintings in Painting", ©, to see on the top of her masterwork and their pictorial content of "Reaching Out of the Given Borders", (©). Among others, those JABRO inventions and novelties are to discover @ the first of three “Painting(s) in Painting” with R. Hoflehner’s portrait, originally photographed in front of his own three-dimensionally painted figuration, titled “The Soundless Cry”, 1974. The intention by the gifted photographer (of many artists) was showing the “soundless crying” artist in front of his painting “The Soundless Cry”, by demonstrating a clever (self-) PR in form of the “dramatic” ostentation in front of his own work of art. In the same way JABRO has recreated, as “Painting in Painting”, ©, Bellmer’s often varied, smitten doll somehow being used by him “as a toy for big boys”. Obviously its artistically sublimated function has been effective as catalyst for his supposed mental issues. It is shown in JABRO’S masterwork as a three-dimensionally painted sculpture by “Reaching out of Given Borders”, ©. The multilayered complexity of this “Graphicpainting’s” themes documents again the subjectively sublimated existence of JABRO’S further invented "Contrast-Pairs", (©), which are creating, in fact, the thematical foundation of all of her masterworks. January 1977, JABRO © |
