Not on display
- Renato Guttuso 1912–1987
- Original title
- La discussione
- Tempera, oil paint and printed papers on canvas
- Support: 2200 × 2490 mm
- Purchased 1961
T00420 The Discussion 1959-60
Inscribed 'Guttuso' b.r.
Tempera, oil and collage on canvas, 86 5/8 x 97 5/8 (220 x 248)
Purchased from the artist through McRoberts and Tunnard (Grant-in-Aid) 1961
Exh: XXX Biennale, Venice, June-October 1960 (Guttuso 9, repr.), as 'La Discussione (1959-60)'; Guttuso, McRoberts and Tunnard, London, November-December 1960 (not listed in catalogue, but repr. in colour on the cover); Renato Guttuso: Mostra Antologica dal 1931 ad Oggi, Galleria Nazionale, Patina, December 1963-February 1964 (178, repr.), as 'La Discussione Politica'
Lit: Alan Bowness, 'Reflections on Guttuso's "Discussione"' in Ark, No.29, Summer 1961, pp.10-12, repr. p.11
Repr: Elio Vittorini, Storia di Renato Guttuso (Milan 1960), pl.19 in colour; Edward Lucie-Smith, Movements in Art since 1945 (London 1969), pl.42
The artist has written of this work (18 June 1962) 'My painting "The Discussion" now part of the Tate Collection was executed in 1959, and forms the resumption of a theme on which I had worked in '56 and '57. In those years I made several drawings and two pictures. One of these pictures was exhibited at the ACA Gallery in New York and is now in a New York collection.
'I have always been attracted by themes dealing with human relationships, whether active relationships (in which men are confronted with each other) or relationships of "situation" (for example: a beach or street scene etc.).
'But I am particularly attracted to the theme of "the discussion" because it seems to me essentially to illustrate a real and practical method of establishing a positive relationship between a group of men.
'Men are made of the same material, they greatly resemble one another. In debate they communicate with each other, giving expression both to the unity between them and to the individuality which separates them.
'In this painting I have tried to give the greatest objective reality to the human forms as well as to the cards, table, newspaper, ashtray. Even the "collage" has an objective and literal function.
'This picture depicts a political discussion, which might be described as "ideological".
'It could, indeed, be a literary or artistic discussion, but of an ideological nature.'
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.350, reproduced p.350