Minerva Protects Pax from Mars (‘Peace and War’) (1) by Leon Kossoff

Minerva Protects Pax from Mars (‘Peace and War’) (1) 1998

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Dimensions: image: 460 x 552 mm

Copyright: © Leon Kossoff | CC-BY-NC-ND 4.0 DEED, Photo: Tate

Curator: Leon Kossoff's etching, "Minerva Protects Pax from Mars," seems to be a swirling vortex of nervous energy. Editor: It feels chaotic, almost aggressively so. The lines are so frantic, like a charcoal drawing rubbed raw. Curator: Right, the composition is based on Rubens, and Kossoff is very interested in how public institutions displayed this type of artwork. Editor: It's hard to make out the figures at first glance. But I think I can see Minerva, the goddess of wisdom, shielding Pax, who embodies peace. Mars, the god of war, looms in the background, doesn't he? Curator: Exactly! Kossoff uses this classical imagery to make a potent statement about the fragility of peace in the face of conflict. Perhaps he's showing us that institutions are the source for this peace, always under threat. Editor: Knowing Kossoff’s own wartime experiences, one can only wonder if it acts as a visual echo of history, a raw expression of its cyclical nature. Curator: It is a powerful image, and I think its lasting impact lies in its ability to evoke such intense emotions and ask big questions about peace and war, even now. Editor: Yes, a great reminder that even in this image, peace is a constant struggle.

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tate about 21 hours ago

http://www.tate.org.uk/art/artworks/kossoff-minerva-protects-pax-from-mars-peace-and-war-1-p11700

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tate's Profile Picture
tate about 21 hours ago

This print is one of many etchings executed by Leon Kossoff in response to, and literally in the presence of, oil paintings by old masters; in this case Minerva Protects Pax from Mars (‘Peace and War’), 1629-30, by Peter Rubens (1577-1640), owned by the National Gallery, London. Tate owns five prints by Kossoff after this Rubens painting (Tate P11700-4). The artist’s ability to explore a number of separate responses while making drawings and prints from a single subject is illustrated in these etchings. This print was never published as an edition; Tate owns the second trial proof.