Alejandro Häsler

This book is a box-book, very near to an author’s book. It should be printed as a limited edition, some 300 or 500 copies, which could be an excellent company gift. When I began it, the images which introduce each file were more important than the text. However with the passing of time, the text took on more and more importance. My aspiration is that the text is the figurative, that it is capable of generating images in the mind of the reader. So, I substituted them with a black square. Each of the 224 black squares is drawn by hand with a 6B pencil, and the tracing of each one is slightly different from the others. At the beginning of the book, there is a text of about forty pages, sewn with thread on the left, like Chinese books.


“When painting, I look for the face of which has no face”
Bram Van Velde, who did not paint portraits.

“No form of reality is independent: in some way everything is related”·
Juan Eduardo Cirlot

It is not difficult to see that this book, begun with the portrait as a starting point, as a stroll with no destination (as when Paul Klee, on drawing, “took the line for a walk”), has become a true Miscellanea. Like those old treatise on painting, somewhat chaotic, which gathered all types of technical considerations and theories about art and painting including information apparently out of context such as cooking recipes, fables, puzzles or proverbs (the mannerist painter Pontormo frequently recorded in his diary what he had eaten that day and in what quantity, showing the worries about the state of his bowels which betrays the hypochondriac or the victim of the terrible Saturn’s disease).



(7) Christ “Saviour and Source of Life”. Macedonian Icon.

XIV Century. Temper on wood. 131x88, 5cm. Legend and inscription in Greek. Skopje Art Gallery.

This icon formed part of the iconostas of the monastery of Zrze Cathedral in Macedonia. Its author was Jovan-Zograph, celebrated metropolitan prelate and artist, inheritor of the last period of the Palaeologus. The stylistic features are still the beams of white lines, as well as the degraded passage of the shades to the clear ochre in the faces, necks and hands of the figures.....


(26) Leonardo da Vinci. La Gioconda.

Begun approx. 1503.
Oil on poplar wood. 53 cm.
Louvre Museum, París.

When Leonardo painted the Gioconda, he was already up to date with the innovations of Flemish painting (previous to Leonardo, the results of this juicy and luminous pictorial technique can be seen in the last works of Giovanni Bellini, in those of Perugino or some of the painters of the Ferrara school such as Cosmè Tura ). Leonardo applied his universal curiosity to experiment above all with oils.....


(90) Kasimir Malevich. White square on a White background

Oil on canvas. 78,7 x 78,7 cm.
Modern Arte Museum, New York.

“Comrades, arise; escape the tyranny of things”
K. Malevich.

Malevich, with his Suprematism, preached a world without objects (thus showing “the supremacy of pure sentiment or pure perception in pictorial arts”). This work could be interpreted as the material world on the point of completely and forever dissolving in the ether.....


(153) Rudolf Häsler. Portrait of Paul Bowles.

Acrylic on board. 21,1 x 29,5 cm.
Private collection.

“Only those who suffer isolated, alone and great, placid and measured, will be the great ones of Art. The future belongs to the solitary ones!”
James Ensor

This is one of the most important portraits made in the second half of the XX Century. Few times has extreme age been portrayed with such sharpness and tenderness.....


(173) Robot portraits of delinquents.

Photograph taken from the press

The French psychologist Liliane Lurçat, in her important study titled Graphisme et modèle dans le dessin de l’enfant, analyses its graphic-semantic connections and arrives at the conclusion that language accompanies the graphic activity. The robot portrait is a very clear example of how, in some cases, the oral language can provoke the graphic action, connecting both types of language. As a result of a description, an image is constituted which ends up combining the general common features of all faces with the particularities which should characterise a person who, moreover, the artist has never seen.....


(178) Image of an Alien or “Martian”.

Photograph taken from the press.

The Gods the ancient Greeks* created during the placid hours of quietness on the perfumed banks of reeds swaying in the soft breeze, lapped by Homer’s “wine like sea”, as well as inspiring with their overwhelming beauty the most beautiful works of art, from Antiquity to the super heroes of the comics, showed a lewd and somewhat sick inclination, bordering on envy, towards their creators, the simple and plain mortals: not wasting the smallest opportunity to couple with them through the most varied and ingenious strategies, in a universe in continuous.....