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Le Semnopithèque

Painting

Author

By (artist) Aloys Zötl

Description

"The same welcoming serenity can be read in the expression of the Grand Macaque as in that of Semopithèque from 1839, admirably inscribed in the arabesque formed by its long tail before a wooded montain, rounded like a breast of Mother Nature." José Pierre (Julio Cortazar (texte de), Giovanni Mariotti (introduction de), José Pierre (postface de), Aloys Zötl (1803-1887), Milan, Franco Maria Ricci, 1976, p. 131-133).

Aloys Zötl
"Here I am proposing my own personal choice, which-far from any desire to be authoritarian and definitive-is, on the contrary, an invitation to each individual to make his own choice. First because beauty is a personal affair [...] and then because the affinities that we may feel in regard to this or that animal space proceeds from reasons which often are not ruled by our consciousness.
I like [...] Le Semnopithèque from 1839 [...], La Loutre and Rana varia (one of the most beautiful Max Ernst's I know) from 1863, [...] Le Rhinocéros from 1872 (Oh, powerful marvel of ponderousness and grace) [...]" José Pierre (Julio Cortazar (texte de), Giovanni Mariotti (introduction de), José Pierre (postface de), Aloys Zötl (1803-1887), Milan, Franco Maria Ricci, 1976, p. 140-144).

Bibliography

- Julio Cortazar (texte de), Giovanni Mariotti (introduction de), José Pierre (postface de), Aloys Zötl (1803-1887), Milan, Franco Maria Ricci, 1976, rep.p. 55, pp.131-133, p. 141, p. 146
- Kamien-Kazhdan, Adina, Surrealism and Beyond in the Israel Museum, Jerusalem, 2007