This vision of isolation receives its apotheosis in A Bar at the Folies - Bergère [6], perhaps
the most poignant image of alienation ever painted, a deadly serious spoof of Watteau's Gilles in completely modern «naturalist» terms, the anonymous yet concrete figure trapped between the world of tangible things and that of impalpable reflections, existing only as a way station between life and art.
Not exact matches
Zachary Quinto's Spock fares better, if only because Quinto infuses neutral lines with a certain melancholy, but he too does not get to build on the seismic events that affected Spock in the first film, his development limited to one
poignant discussion of how he has reacted to his home world's destruction and one meaningless inversion of the
most iconic
image of the Star Trek films that takes a piercing moment and reduces it to farce.
The
most poignant works in the show are the photographic diptychs on the second level of the gallery; these formally staged
images of poetic acts have a gravity that Economia is unable to capture in its frozen metal ribbons.