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The Discussion.

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Larger Image	Larger image may be viewed by UofL faculty, staff, and students only (log-in required using ULink username/password) at: http://echo.louisville.edu/login?url=http://vrc-web.louisville.edu/Jpegs/820/826-46.jpg
Title	The Discussion.
Translated Title	La Discussione.
Creator	Guttuso, Renato (Italian painter and author, 1912-1987)
Date	1959-1960
Cultural Context	Italian European Western European
Theme	Paintings (visual works) Debates Ideology Politics Public interest Public policy Figurative art Figures (representations) Front views Three-quarter views Oblique views Profiles (figures) Back views Men (male humans) Artists Costume (mode of fashion) Suits (main garments) Jackets (garments) Coats (garments) Eyeglasses Ashtrays Newspapers Publications Serials (publications) Periodicals Chairs (furniture forms) Furniture Seating furniture Slat-back chairs Slats (object genres) Backs (furniture components)
Subject	Paintings Discussion Debates Politics & government Political issues Political parties Men Artists Clothing & dress Suits (Clothing) Coats Backs (Anatomy) Eyeglasses Sitting Cigarettes Smoking Newspapers Periodicals Chairs Seating furniture Furniture
Description	"According to the artist this painting depicted an 'ideological discussion'. As such it evokes the stormy realist-abstraction debates, and allied political differences, among artists in Italy after the Second World War. Stylistically, the work skillfully weds the rhythms of Italian baroque art to the prewar modernist idioms of [Pablo] Picasso and Cubism." (Caption, p.13); "In France and Italy after the war, the emergence of strong Communist parties (initially invited to join coalition governments due to their roles in wartime resistance to Fascism) led to debates among artists concerning the competing claims of a socially oriented realism and those of self-expressive experimentalism. […] Postwar Italy was politically volatile, with frequent changes of government. The eventual triumph of the Christian Democrats was resented by increasingly marginalized Socialist and Communist groups, and artistic positions reflected passionate political convictions. Realist critics, working in the wake of an important movement in film exemplified by Roberto Rossellini's Resistance story, Rome, Open City of 1945, regularly clashed with abstractionists. There were lively exchanges between groups linked to the PCI (Partito Communista Italiano) such as the Fronte Nuovo delle Arti (founded 1946) and pro-abstraction groups such as Forma (launched in 1947). The painter Renato Guttoso was attached to the former group until 1948 when it dissolved due to particularly inflexible policies on Realism on the part of the PCI. As an artist he combined elements of Picasso's post-Cubist vocabulary with stylistic and iconographic allusions to Italy's pictorial traditions in large-scale 'history paintings' addressed to matters of public concern. […] His commitment to a practice of painting embodying public or moral discourse is perhaps most directly expressed in the later work The Discussion of 1959-60." (Excerpt, pp.13-14)
Location Depicted	Italy
Material	Paint
Technique	Painting (image-making)
Work Type	Paintings
Repository	Tate Gallery (London, England, United Kingdom)
Source	Hopkins, David. After Modern Art: 1945-2000. Oxford History of Art. Oxford; New York: Oxford UP, 2000. (p.13, fig.4)
Rights	© Tate Gallery, London, 1999/DACS, 2000.
Digital Publisher	University of Louisville Department of Fine Arts/Allen R. Hite Art Institute Visual Resources Center
Format	image/jpeg
Digital File Name	VRC 826-46.jpg
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