Gabriels and the Italian Cute Nymphet

On the history of "cute" and its intermediate transmigration from west to east from the beginning of the nineteenth century to the 10ths of 2000 The reinterpretation of the classic theme of the end of art, knowingly tackled to a greater or lesser extent by globalised Neo-Pop aesthetics, is thus returned to its Art Nouveau and Symbolist roots (thus also reassessing the influence of Art Nouveau on Rose Cecil O’Neill, creator of the Kewpies). In traversing the aesthetic category of cuteness, Gabriels’ «toys for melancholics» display singular dialectical images (in Benjamin’s meaning of the term): small illuminations in the dreamworld of industrial fetishes, precious little twitches, sudden awakenings of auratic irony from the inside of the commodity’s phantasmagoria.On the history of "cute" and its intermediate transmigration from west to east from the beginning of the nineteenth century to the 10ths of 2000 The reinterpretation of the classic theme of the end of art, knowingly tackled to a greater or lesser extent by globalised Neo-Pop aesthetics, is thus returned to its Art Nouveau and Symbolist roots (thus also reassessing the influence of Art Nouveau on Rose Cecil O’Neill, creator of the Kewpies). In traversing the aesthetic category of cuteness, Gabriels’ «toys for melancholics» display singular dialectical images (in Benjamin’s meaning of the term): small illuminations in the dreamworld of industrial fetishes, precious little twitches, sudden awakenings of auratic irony from the inside of the commodity’s phantasmagoria.