manneirism

me: *always eats at the same places and always orders the same food* *social behavior doesn’t come naturally to self* *has hyperempathy* *has trouble expressing feelings/matching facial expressions to emotions* *has awful body coordination/struggles w/ simple instructions regarding hands-on tasks* *gets upset w/ a minor change in routine*

me: *writes small scripts for ordinary social interactions to avoid anxiety* *stims/cannot keep still* *likes certain things so intensely that it frightens self/could talk abt those things all day* *is confused by how some ppl always know what to say or do most of the time* *has trouble making and keeping conversations*

me: *didn’t realize a friend was invinting me to her sister’s birthday party when she sent me a picture of the invitation bc she didn’t explicitly say so* *is naive/childlike* *easily distracted to the point of dissociation* *was teased during childhood for being too uptight/teacher’s pet* *emulates fictional characters/other people in terms of personality* *used to repeat words randomly as a child/still does that as a young adult, esp. words in other languages just bc “they sound pretty”*

me: *is baffled when ppl express interest in spending time with me* *has poor time management skills/ is a serial procrastinator* *deeply dislike certain textures/sounds/smells* *is photosensitive* *is considered weird by friends and family* *has unusual manneirisms*

me: ok so i may THINK that i am autistic but what if i only think that bc i want ATTEntiON???????

At blacksmith’s home, wooden skewer”, so says a portuguese proverb.

What does it mean? Let me give you an example.

Santarém is commonly known as the portuguese capital of Gothic. Since the old Scalabis has a bishop, it also has a cathedral - a Gothic one, you might think… but no: the cathedral is not even medieval, since it was built between 1647 and 1711; so, the main temple of the capital of Gothic is actually Manneirist (with a few glimpses of Baroque). 

Never expect the obvious to be obvious.

I have already posted a lot of pictures of the Old Cathedral of Coimbra - the Romanesque one, with strong Gothic and Renaissance influences.

But we all need a change. So, for today, I post the New Cathedral of Coimbra, a mix of Manneirist and Baroque styles. The picture is rubbish, but I don´t care - I need a change (of cathedrals).

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Mário Eloy, a portuguese artist born in 1900, belonged to the first genaration of modernists who led a tragic, misunderstood life. He started his artistic career as a cenographer, later moving to Paris where he became inebriated in the modernist movement and endeavours. But it was his moving to Berlin, in 1927, that would dictate his major artistic influence.

From a naïve cubism that didn’t really work its way through, Eloy reaches an expressionism that is born out of anonymous masks of African influence, expressive brushstrokes that defigure the body and a dark theme that antecipates the social tragedy of the year of 1933. There, he married and had his first child, but upon leaving Germany in that same year, he would never see his wife and child again, who would later escape into Holland and eventually get sent into a concentration camp.

Several accounts described him as ‘the drunk’, mostly because of his peculiar way of talking, walking and his manneirisms, and also as influenced by an earlier boemian lifestyle. But it was revealed in 1940 this was due to the artist suffering from Hungtinton’s disease, which would haunt him into his death.

A troubled man, Eloy poured the ghosts of his past and present into the canvas in the phantasmagorical way of Chagall and the grotesque visualization of George Grosz, the latter with whom he collaborated Der Querschnitt. Bailarico (first picture, 1936) shows a common street dancing festivity in the streets of Lisbon, by the river, wherethe faces are transformed into anonymous masks put into a cold, detached scenario, turning the whole scene into the exact reverse of it: a rather tenebrist scene. The Poet and the Angel (1938, second picture) is a rather clear vision of what the artist had been through after separating from his wife and child, on the run from the nazi government. The green, decaying body was described earlier, in regards to other similiar paintings, by Raoul Leal-Henoch as «green of rotting with gangrene stains», admitting his paintings were «forjed in hell, sinister hallucinations of a fantastic Other World, orchestrated by Satan».

The third painting, entitled View From My Window (1938) has a more macabre story behind. Recent x-ray analyzis revealed another painting underneath, something that was usual of Eloy to do. Originally comissioned by a friend as a portrait of his daughter, Eloy promptly sketched what would be, for all artistic convensions, a portrait of a little girl, but instead presented this: the little girl’s funeral. It is uncertain why.

Mário Eloy died in 1951. He never lived to see the fame he would later recieve.