Footnotes

• PROVENANCE:
  A private collection
  
  EXHIBITED:
  Pretoria, Christi's Gallery, Twenty Paintings, 10-25 October 1947, cat. no. 3
  Johannesburg, Constantia Galleries, Alexis Preller, 17-29 November 1947, cat. no. 4
  Pretoria, Pretoria Art Museum, Alexis Preller retrospective, 24 October-26 November 1972, cat. no. 22, illustrated
  
  LITERATURE:
  E. Berman & K. Nel, Alexis Preller, A Visual Biography, (Johannesburg, 2009), illustrated p. 44
  
  Following a break with his long-time partner Christi Truter and a subsequent suicide attempt, Alexis Preller travelled to Europe at the end of 1946. In Paris, he frequented the galleries as a means of soothing his troubled mind. In the Louvre he examined the collections of marble sculpture from Ancient Greece for the second time. He had previously seen them in 1937, prior to his service in the military during World War II. Returning to them with a new perspective on life, Preller viewed them, rather like himself, as victims broken by the ravages of life.
  
  "Items that had previously appealed as fragmented relics of a golden age, appreciated for their ineffaceable formal qualities and artistry, now assumed an entirely different meaning for Alexis. In the armless torso of the Rampin Knight, the broken slender figure of the Boy on a Horse, and the many other damaged survivors of the centuries, he recognised the similarities between the ravages of time and the mutilation wrought by war."
  
  Although reminiscent of di Chirico's earlier Surrealist paintings of broken statues in metaphysical landscapes, Preller has imbued his figures with suggestions of movement and even battle. His landscape seems to live and undulate.
  
  BIBLIOGRAPHY:
  E. Berman & K. Nel, Alexis Preller, A Visual Biography & Collected Images, (Johannesburg, 2009)

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Category: Fine Art / South African Art

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