The mighty rabble of unreason, the prattlers of the pulpit, the blind banqueters of inanity, the blatherers, drivelers, twaddlers and knaves have all declared Currado Malaspina a menace to our young. "Obsédé par la gouttière" was how Monseigneur Eustace Etherlburga, pastor of L'Eglise Sainte de Chapele, Brabant described him in his weekly radio address last Sunday.
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| L'Animo ch'e` Creato ad Amar Presto, 1979 He may have been referring to a little known group of works-on-paper entitled "Felicità Raggiunta". Originally intended to illustrate the offbeat poems of Becolade Leonidas, the Raggiunte's graphic muscle was deemed ill-suited and inappropriate by Leonidas' long time publisher Gulyan Puratos. The small suite of drawings surfaced recently at Bloedpens Bruxelles on rue Duquenois just off of Le Grand Place. A third-rate gallery on the fourth floor of a furniture warehouse, Bloedpens typically traffics in fake Hergé lithographs and the teacup poodle gouaches of Aimeus Gaufres. It turns out Malaspina's ex-wife Anaïs maliciously unloaded reams of Currado's early work in order to flood the market and subject her erstwhile husband's reputation to a good old fashioned lashing. Fat chance! Etherlburga's jeremiad has only added to the Malaspina spell. When last checked, the wait-list to acquire anything by Currado Malaspina, regardless of period or quality is about as long as the Antwerp Yellow Pages. There's no such thing as bad publicity. Wasn't Tintoretto referred to as "the Menace of Venice"? |
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