The Star Fisherman - 1942
The Sorrentine Dancer - 1948
Memories of Rome - 1943
The Sorrentine Dancer
Gattorno first explored his ideas of deconstructing the Sorrentine Dancer in a sketch dated 1945. He completed the oil painting in 1948. It deals with issues of deconstruction and objectification of art and subject matter. Willem deKooning explores similar ideas in his paintings of women from the same era. But while deKooning shocks the viewer by establishing a style that appears to abandon technique Gattorno uses technique to create a more subtle yet equally distorted vision that seems somewhat less misogynistic.
Memories of Rome -
Gattorno first saw Rome in 1920 when he arrived there as a sixteen-year-old student away from home for the first time. He was heavily influenced by Italian master-painters such as Giotto, della Francesco, and Titian. Twenty years later, as war ravaged Europe, Gattorno painted his “Memories of Rome”, paying homage to sources of inspiration as diverse as diChirico and Caravaggio. There is nostalgia in this painting as well as social and political commentary. It is simultaneously personal and universal in its various meanings and connotations both explicit and implied
Saudades - 1945
Ommagio del Quattrocento - 1945
Woman Under Construction (to become a Muse) - 1948
Suntanned Venus - 1946
Woman Under Construction (to become a Muse) -
Gattorno contributed his own visions to the ideas of deconstruction and objectification being explored and debated by the Abstract Expressionists of the New York School during the late 1940’s. Gattorno, with his strong sense of humor and irony, made use of the very same classical techniques that many of his contemporaries sought to eschew. Here Gattorno’s disassembled woman, though arranged according to the artist’s whim, is re-constructed with a definite affection for the feminine form and an appreciation of the necessity of feminine energy in the universal sense. Her torso is firmly rooted in feet that grow directly from mother Earth. Her headless bust, sprouting a beautifully rendered pair of wings, perches atop a sculptor’s table, as if upon a pedestal.
This was painted following Isabel’s first visit to Cuba in the spring of 1946. Antonio’s brother Francisco, who was called Paco, had a home at Veradero Beach. There are numerous photographs of Isabel and Antonio relaxing at the shore. Although the artist painted the suntanned Venus as a nude, the model was not.