By Philippe Poloni
Dans ce suspens aux allures baroques, il n’y a qu’un seul coupable et il s’agit d’un tableau, Le Carré blanc sur fond blanc de Kasimir Malevitch. À reason de lui, des individus seront amenés à commettre des crimes. l. a. mort comme métaphore devient ainsi le aspect valuable d’une recherche esthétique troublante.
Dans un sort grinçant, Philippe Poloni nous conduit dans une histoire aux développements rocambolesques. Ses personnages bigarrés nous entraînent successivement dans l. a. mort des arts et l. a. mort tout courtroom. Rien de moins !
John Di Homogrosso, gardien au Musée d’art moderne de manhattan, remarque un homme qui vient toujours contempler le même tableau. Voulant savoir pourquoi quelqu’un peut s’intéresser tant à un carré blanc sur fond blanc, il décide d’aborder le mystérieux visiteur. C’est ainsi qu’il apprend que cet homme, un artiste en style du nom de Cosmo Maffia, ne peut plus peindre depuis qu’il a vu cette œuvre. À ses yeux, les limites de l. a. peinture ont été atteintes, rien ne peut surpasser cette toile.
James de Carton, le galériste responsable de l. a. carrière de Maffia, est désespéré. Que va-t-il vendre à sa clientèle sélecte si Cosmo Maffia refuse désormais de peindre? D’autant plus qu’une autre artiste courue dans le Tout ny, Anita Braun, vient aussi de quitter son écurie à reason d’un melanoma qui l’arrache à los angeles vie pièce par pièce et qui lui gruge toutes ses énergies.
Deux artistes cessent donc de peindre au même second. Intrigués par les motivations de chacun, Braun et Maffia se rencontrent. Pour se sortir du gouffre artistique dans lequel ils se trouvent, Anita Braun va proposer à Cosmo une nouvelle manifestation esthétique : l’homicide comme l’un des Beaux-Arts. Soigneusement choisies par Anita Braun, les victimes vont rapidement se succéder. Mais Cosmo se met à douter des nobles intentions artistiques de sa collègue et les meurtres commencent à lui peser lourd sur l. a. conscience…
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56 The State Lottery, The Hague, September 1882. Watercolour, 38 x 57 cm. Van Gogh Museum, Amsterdam. (Opposite) 48 In his letters, van Gogh stressed again and again his appreciation for the life of peasants and workers. However, as in the Borinage, he longed for the land of pictures. In November 1885, he moved to Antwerp to join the Academy of Art. But he stayed there for only a short time. Four months later he left for Paris; he never returned to Holland. ”57 49 Paris 1886-1888 V an Gogh had been living in the French capital for nearly half a year when he wrote to Horace M.
Kröller-Müller Museum, Otterlo. Beach at Scheveningen, The Hague, August 1882. 5 x 51 cm. Van Gogh Museum, Amsterdam. (pp. 38-39) 37 38 39 40 Father and Mother are very good to me in that they do everything to feed me well, etc. 41 At this time, “something nobler and higher” meant, first of all, not the artistic work, but his love for his cousin Kee. Although she had resisted his advances, he continued trying to win her heart. His family was ashamed by his persistence, and openly criticized his passion.
45 Van Gogh’s conception of women was quite far removed from the classical ideal of beauty. On one occasion, he expressed his opinion in these terms: Woman with a Broom, Nuenen, March-April 1885. Oil on canvas, 41 x 27 cm. Kröller-Müller Museum, Otterlo. (Opposite) 41 The Farm, The Hague, September 1883. 5 cm. Private collection. 42 The Old Cemetery Tower in Nuenen in the Snow Storm, Nuenen, January 1885. 5 cm. Collection of Stavros S. Niarchos, London. 43 Uncle Cor asked me today if I didn’t like Phryne by Gérôme.