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The Argonauts

The appearance in Sassu’s artistic production at the beginning of the 1930s of myth, which would be worked out parallel with the themes connected with reality already experimented at the moment of his adherence to the Futurist group, is an indication of the artist’s own personal mental outlook and actions.

Characteristic of him was a lively participation in the events of daily life, politics, and history, which always went hand in hand with his attraction to the world of the imagination and thus of myth, with its strong, larger-than-life narrative charge and its meta-historical quality.

This psychological propensity is reflected in his artistic production, which is rich in figures always on the borderline between myth and reality and at times set in a primeval past even more distant than that sought in those same years by Carlo Carrą, or else inserted into the context of their daily existence with precise social connotations.


The Rape of Europa

Among the mythological themes Sassu dealt with most often in this paintings, more or less over the entire span of his career, are the Dioscuri and the Argonauts, these latter clearly alluding to the utopia of the voyage toward the unreachable.

Other subjects - The Wrath of Achilles, The Death of Patroclus, The rape of Europa, Diana and Callistus, The Judgement of Paris, Athaliah - reveal a recurrent preference for the absolute values of a world beyond history, animated by violent, profound passions which nonetheless reflect the artist’s sensibility.

In this sphere, his major recent works are the mural decorations with mythological scenes in the Serra house and the artist’s studio on Majorca, and the monumental ceramic mural The Myths of the Mediterranean, 1992-93, installed in the new headquarters of the European Parliament in Brussels.