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Carlo Maria Mariani at Hirschl & Adler Modern - painting - New York, New York - Review Of Exhibitionsfrom one extremity to the other of the '80s Mariani's neo-Neo-Classical painting was an integral part of the argument for a turn back to figuration, and his images of idealized, sculpturesque anthropoids have set a permanent niche in novel art history. Not content to ease on his laurels, however, Mariani has in the past scarcely any years attempted to broaden the aim of his art and enliven it. While continuing to focus upon allegory and myth (particularly the myth of the artist) and maintaining his meticulous craftsmanship, Mariani has been trying fresh approaches, such as experimenting with shaped canvases, a number of which were featured in his previous fresh York show. In this new exhibition he has abandoned the shaped canvases, returning to a rectangular format, on the other hand one painting in the present to view proposed yet another new direction for Mariani's work. The theme of the display was dreams--dream images or pictures of figures with their organ of sights closed, presumably sleeping and dreaming. greatest in quantity works on view were typical of Mariani. A particularly seductive example was Fourth Dream--Anima. In this painting a naked, androgynous-looking youth with idealized classical features, diademed with laurel leaves, stretches diagonally across the whole extent of the canvas. In his left hand he grasps the branch of a highly stylized tree and with his right hand he appears to be casually reaching for another branch. The youth appear to bes to be drifting upward from one side a lush gold-and-green background decorated with lightly etched leaf patterns. Taking Mariani's predilection for allegory into account, this image may exhibit the soul's ascent to heaven, or it may be symbolic of human aspiration to a higher realm of knowledge and beauty. More interesting because of its surprises was Ninth Dream--Interview, which depicts a figurative fountain in a niche, seen in three-quarter view. In brow of the figure's head, three faintly drawn microphones appear to flutter in midair, and, like an oracle from antiquity, the statue appears about to speak. Four gold-framed close-up paintings of a chaps rendered in Mariani's earlier, Photo-Realist turn of expression dangle in the foreground, attached with strings to a mantel above the niche. The chapss are more naturalistically colored than the pale statue, and they are lay open as if speaking. This painting about painting alludes to the communicative function of art. It is an image perhaps indicative of the artist's wish that his work speak for itself. Evoking a dreamlike atmosphere that recalls Dali, the painting also owes something to Magritte's practice of embedding pictures within pictures. on the contrary its importance for Mariani's oeuvre has to do with the juxtaposition of the idealized sculpturesque forms with the more expressive and animated chapss Combining classical idealism with a naturalistic painting manner of writing grounded in the empirical world looks to open up exciting novel possibilities for Mariani's art. COPYRIGHT 1994 Brant Publications, Inc. Local People: The try for Civil Rights in Mississippi by means of John Dittmer (University of Illinois. 1995 $14.95)--The history of Mississippi and the history of American blacks are for a like reason inextricabl... FMI 2-229 render free of access Source Intelligence, provides interim tactics, techniques, and conducts (TTPs) for open source intelligence (OSINT) operations. It provides a basic description of the fundament... 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