Inglada came home with works full of convulsive bodies and faces, mainly of men. Her impressive works may remind you of a nightmare about Cinecittà, but made with the same excellence.
This is what happens behind the scenes, in the shades, the margins and the minds of La Grande Bellezza.
Schleiffert was drawn to nature and apart from some wonderful drawings with more or less classical themes and subjects, she also surprises with quite a few colourful landscapes, mostly with trees and woods.
They have a fairytale-like quality full of expectation.
Quite different and interesting aspects of Schleiffert’s art appear in these small drawings.
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Probably the best word to describe the works of the present exhibition at Maurits van de Laar’s Gallery is ‘awkward,’ but in a very positive way.
One could also define it as radical theatricality; the crumpling of her subjects by Marjolijn van der Meij (1970), the exaggeration of her scenes by Shary Boyle (1972), the intensifying of the interaction between her actors by Susanna Inglada (1983) and the firm anachronising of the present day and the First World War by Cedric ter Bals (1990).
In the front gallery especially Van der Meij steals the show with her crumpled Arcadian kitsch presented on shiny silk, extremely over-the-top in a way that it becomes extremely down-to-earth again.
In the lower part of the gallery Ter Bals makes a colourful carnival of death, destruction and reincarnation.