This work, which reveals the solitude of man in contemporary society,"is one of the most desperate meditations by Guttuso on human desolation. It is an emblem ... It is a desolate image, the vision of a hell created by man". (S. Whitfield, Guttuso, p. 30, 1999, Palermo).
Guttuso exults the still life in this painting, which becomes an allegory of existential misery. Brandi underlines: "An intense funeral tone hovers in the carcasses of cars, from the empty eyes of skulls, it is here you can feel, in a comparison with a naturalistic vision, the intensification in the artist's performance. In these car dumping grounds it is as if the civilization of consumption has its wounds exposed revealing the emptiness of existence. Paintings of cars possess a sense of the indestructibility of evil. These cars are useless now, everything has been taken away, we do not know where to hunt in so many carcasses: but in Guttuso they become art, as in the sculptures of Chamberlain and César". (C. Brandi, Renato Guttuso, Recent Paintings, Watercolors and Drawings, London 1979).
Within this painting the artist explores two idiosyncratic subjects: the proletarians (the three workers) and the nude women (embodied in the figure of the prostitute, lying in a provocative pose among the wreckage). The two groups are placed on two uneven floors in a disordered and apparently disconnected environment, where a Roman aqueduct stands in the background as a symbol of a lost past.
Guttuso himself defines the cycle of carcasses: "I have painted many car cemeteries, I painted the car as a symbol of consumption, of a society that continually needs to destroy in order to buy back "(S. Bevione, Protagonist: the painter Renato Guttuso, n. 217, November 1981, pp. 14-19)
Despite a disconsolate vision of the human condition, the artist does not lose faith in the possibility of the redemption of the weaker classes linked together by existential sharing.
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