A cura di Maria Masau Dan
Dal 2009-07-05 al 2009-10-18
“Leonor Fini, an Italian in
Museo Revoltella – Galleria d’arte moderna
5 July – 18 October 2009
The exhibition is held in the spaces on the fifth and sixth floor of the modern art gallery, in close contact with the permanent display, which includes 19th and 20th-century works that Fini would certainly have seen as an adolescent, and which were probably important for her training, given that the painter may be regarded as a self-taught artist, even though she had some teachers in Trieste in the 1920s.
The exhibition highlights the distinct phases of her long artistic career.
This section aims to reconstruct the background in which Leonor Fini grew up, in contact with the intellectual bourgeoisie of the years immediately prior to and following the First World War, which saw
Leonor Fini became close friend with such artists as Arturo Nathan and Carlo Sbisà, and frequented the homes of writers like Italo Svevo and Umberto Saba. From Nathan, she acquired a particular interest in the metaphysical art of de Chirico and the depiction of the ego through fantastic visions. She exhibited alongside these artists in the first exhibitions to be organized in
In the exhibition, this phase is documented by Fini’s works from 1925 to 1929, comprising portraits above all, along with paintings by Nathan and Sbisà, including the portrait they dedicated to her in
LEONOR FINI IN
Fini’s contact with
“LEONOR ET LES ITALIENS DE PARIS”. HER CONTACT WITH SURREALISM.
In 1931 Leonor Fini moved to
Leonor Fini spent a couple of years in
LEONOR FINI IN
After the end of the war, Leonor Fini returned to
Surrounded by faithful friends and bevies of admirers, Leonor Fini was also at ease in society and fashion circles, always bearing with her a touch of originality and eccentricity.
LEONOR FINI AS ILLUSTRATOR
From 1940s onwards Leonor Fini has illustrated more than a hundred books, from the works by past authors (Shakespeare, Sade, Baudelaire, Poe, Flaubert) till those by her contemporaries and friends (Jean Genet, André Pieyre de Mandiargues, Jacques Audiberti). Showing around fifty precious editions, this exhibition presents the largest section on Fini’s illustrated books ever.
LEONOR FINI AS SET-DESIGNER AND COSTUME DESIGNER
Fini’s activity as the creator of sets and costumes took place between the 1940s and 1960s in
On display are the sketches for sets and costumes of her principal works for the theatre.
LEONOR FINI AND PHOTOGRAPHY
Leonor Fini had many and fruitful contacts with photographers from the 1930s onwards. The exhibition shows a selection of the most charming portrait photos by Cartier-Bresson, Richard Overstreet, André Ostier, Veno Pilon, Arturo Ghergo, Erwin Blumenfeld and Eddy Brofferio, highlighting her exceptional talent as sitter and the artistic quality of the images, many of which veritable masterpieces.
LEONOR FINI AND THE OTHER ARTISTS
Besides the artists known in her youth and in her home town, Leonor Fini meets in her whole life many painters who are decisive for her life and, partially, for the development of her artistic language. A section of the exhibition gathers a series of paintings from the 1930s to the 1990s by Italian and foreign surrealist painters who were Fini’s friends. Here are shown many works by Stanislao Lepri, Enrico Colombotto Rosso and Fabrizio Clerici, artists who were very close to Fini both by a personal and professional point of view and used to meet in summer in the monastery of Nonza, and further Paul Tchelitchew, Jan Lebenstein, Michèle Henricot and Dorothea Tanning.
A painting by Eros Renzetti, friend of last years, closes symbolically this section of the exhibition.