Right Wing Art Critics Always Have a Firm Grasp of Irony.

Here’s Michelle Malkin freaking out than an Alma Thomas painting is ‘an outright copy’ of a Matisse painting.
Here’s Ann Althouse with a post echoing the Michelle Malkin post with her own two cents added.
Of course, Malkin was riffing off a Free Republic poster who calls the Thomas painting a ‘fraud’.
Stir. Sniff. Savor.

One of my more recent paintings is a copy of a copy of Da Vinci’s lost work, ‘Leda and the Swan’. The painting was lost centuries ago in mysterious circumstances; I spent a few months researching what happened to it and the best scrap I came up with was an anecdote about a French countess who burnt it as she thought it obscene and immoral. There are sketches for the painting in the notebooks and several copies were made by various students of Leonardo. I based mine upon Cesare de Sesto’s version, which is quite beautiful.

The conversation between artists across cultures is something easily distorted for cheap political propaganda; Malkin, Althouse, and the Freepers demonstrate this perfectly. They pass around the idea of passing around ideas for mockery and derision while congratulating each other for being original thinkers who all hate the same ideas. It should be no surprise that the fascist mind despises modern art; ironic ambiguity challenges infantile certanties.

I have a spare square white panel of wood 2 feet by 2 feet that I had primed but didn’t end up using in the last series I was doing. I also have a bunch of black construction paper that I haven’t done anything with. I believe I am going to create a piece called ‘Fascist Snail Watusi’ after lunch.


UPDATE (2013) I noticed this post was getting traffic and I peeked at it and remembered writing it-I did actually end up making the painting I talked about there-here is what it became. I ended up calling it ‘Echo (Can You Hear It?)’

'Echo (Can You Hear It?)' Oil, 2'x2'. Winston Delgado

‘Echo (Can You Hear It?)’ Oil, 2’x2′

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