One paragraph in this link is so important that I quoted it here: Neuroses may therefore very frequently produce secondary magnesium depletion. They require their own specific anti-neurotic treatment and not mere oral magnesium physiological supplementation, but both genuine forms of neurosis due to primary neural magnesium deficiency and magnesium depletion secondary to a neurosis may exist. These two conditions may be concomitant and reinforce each other.
Dorothea Tanning at C. Gifts of Desire, Miami Beachpp.
A Biographical Dictionary, New Yorkp. New Displays, Londonp. The Journal of the History of Art, vol. Surrealism and Design, Londonpp. The Uses of Disenchantment, Newcastlepp. The picture depicts a shabby hotel corridor with cracked plaster, peeling wallpaper and numbered doors, the farthest of which is ajar allowing an unidentifiable, glowing light to pour out into the dimly lit, narrow space.
The opening here suggests a gateway between one reality and another, alerting the viewer to the possibility of the unexpected, which here takes the form of a giant sunflower lying broken and twisted on the blood-red carpet.
Its petals are torn and its yellow centre faces upwards like an unblinking eye. Two figures also inhabit the scene, both of which appear to be young girls.
One leans against a doorway, eyes closed, head Tanning research papers, clothing torn, her chest and stomach exposed; she appears to be exhausted and on closer inspection her face is actually a mask. In her hand she clutches a limp petal from the flower. The other girl stands defiantly, back to the viewer, fists clenched, her hair streaming wildly upwards into the air.
In a letter to Tate in about the painting, Tanning stated: Transformed by the intensity of childhood imagination, Tanning escaped into a world of fatal desires, psychological terrors and supernatural battles between good and evil.
She and her companion, Max Ernst went there from the urban landscape and artistic milieu of New York.
Later, inshe would marry Ernst and move to Sedona where they remained for many years. In her book Women Artists and the Surrealist Movement Whitney Chadwick, who provided one of the earliest discussions of this picture, suggests that the image is highly autobiographical and inspired by the composition of Danger on the Stairs Museum of Modern Art, New York by the Belgian surrealist Pierre Roy —a painting which featured a large snake descending a staircase.
The scene, though infrequent, is possible in the natural outside world. The tone is suggestive of secrecy and sexual exploration.
According to Tanning, the flowers in this picture are both menacing and alluring at the same time. They are metaphors for the forces that can, at once, seduce and destroy. In Eine Kleine Nachtmusik, instead of the conspiratorial and adventurous atmosphere of Sunflower Landscape, the sunflower lies vanquished, implying that a more violent sexual struggle or event has already taken place, leaving one of the figures in a swoon, her clothing torn and her face a doll-like mask.
Tanning has suggested that that these two paintings, both painted in the same year: Boys are encouraged to be sexually experienced and girls are taught to be passive … or frightened by sexual behaviour [as it could lead to the shame of unwanted pregnancy].
Eine Kleine Nachtmusik depicts a confrontation between the forces of grown-up logic and the bottomless psyche of a child.
Could it be his own playful sense of the absurd just pulled it out of the air — as I did, in the same mood, when I borrowed it for a picture?The idea of death, the fear of it, haunts the human animal like nothing else; it is a mainspring of human activity—activity designed largely to avoid the fatality of death, to overcome it by denying in some way that it is the final destiny for man.
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