After a few years of careless touring of Europe the least morally upright Minister of Justice and Public Morality would return to the Peninsula and spend the last turbulent months dealing with strikers. Although lacking any talent or attention span for the office work, he would still help as he could, one time even calming a particulary angry mass of workers with an open-air piano concert. A later historian called his unconventional methods “dazzling the revolting masses into submission”, which, of course, is a grave overestimation of Baron’s role in the final (favorable) outcome of the political crisis.
The ecstatic face of a man who just saved a whole district by playing a piano for like 30 minutes
The instability of the nation didn’t stop the spunky antinatalist in his artistic exploits, either. On the 3th of May 1913 Baron Gabriel opened another two personal exhibitions at same time, one in Rome and the other in Napoli, both full of paintings even darker and terrifying in their imagery. The Grand Academy was shaken once more and another swarm of insults was exchanged between the Traditional School and Futurist groups.
“The Death of a Naïve Prostitute I”
A lot of discussion was generated by a pair of paintings, both named “The Death of a Naïve Prostitute” as they were seen by some (leftists) as a clear reference to one Aurelia Muti, a suffragette who died in a penal colony in Somalia, sent there by the last dom Contravarius to run the Ministry of Justice. To present the two pictures so close to her 51st anniversary could’ve easily been interpreted as a way to spit on her legacy for one last time.
“The Death of a Naïve Prostitute II”
((The retarded looking cat was not part of the original picture. Also, yes, I know it fits there perfectly and the painting looks much better this way.))
It is also notable that Baron of Rubicon made sure to invite one Michele di Grosseto, the designer of the somewhat controversial statue of Muti (not controversial for its imagery or style – both were really quite boring and academic. The controversial part was a statue honouring Muti even existing) in Gaeta to his very much Futurist-dominated opening ceremonies, both in Napoli and Rome. He, of course, would either not show up or stay in the shadows.
The ecstatic face of a man who just saved a whole district by playing a piano for like 30 minutes
The instability of the nation didn’t stop the spunky antinatalist in his artistic exploits, either. On the 3th of May 1913 Baron Gabriel opened another two personal exhibitions at same time, one in Rome and the other in Napoli, both full of paintings even darker and terrifying in their imagery. The Grand Academy was shaken once more and another swarm of insults was exchanged between the Traditional School and Futurist groups.
“The Death of a Naïve Prostitute I”
A lot of discussion was generated by a pair of paintings, both named “The Death of a Naïve Prostitute” as they were seen by some (leftists) as a clear reference to one Aurelia Muti, a suffragette who died in a penal colony in Somalia, sent there by the last dom Contravarius to run the Ministry of Justice. To present the two pictures so close to her 51st anniversary could’ve easily been interpreted as a way to spit on her legacy for one last time.
“The Death of a Naïve Prostitute II”
((The retarded looking cat was not part of the original picture. Also, yes, I know it fits there perfectly and the painting looks much better this way.))
It is also notable that Baron of Rubicon made sure to invite one Michele di Grosseto, the designer of the somewhat controversial statue of Muti (not controversial for its imagery or style – both were really quite boring and academic. The controversial part was a statue honouring Muti even existing) in Gaeta to his very much Futurist-dominated opening ceremonies, both in Napoli and Rome. He, of course, would either not show up or stay in the shadows.
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