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Leonor Fini Returns To Trieste
It has been 26 years since the last exhibition of Leonor Fini (Buenos Aires, 1907-Paris, 1996) organised in Italy. Now an exhibition at the Museo Revoltella of Trieste, open until 4th October, is making up for this long absence, directing again our attention onto the eccentric artist who was one of the main interpreters of Surrealism in Europe.
The exhibition intends to retrace her long and enthralling human and artistic adventure which actually started in Trieste in the Twenties, ending in the late 20th century and was fully lived with a blazing career and triumphal luck in Paris. And in the beautiful French capital, still today, the market pays tribute to this enigmatic figure, thanks to the continuous increase of the value of her works, after her death, and to the favour met with “thirsty” US collectors of sought-after Surrealist canvases. On the occasion of the centenary of her birth, there is a reawakening of interest in Leonor Fini, to the point of “convincing” Trieste – the land of her childhood and formation – to organise an exhibition, given that the last and important event dedicated to her dates back to the exhibition in Ferrara in 1983.
The exhibition in Trieste, which occupies the fifth and sixth floor of Palazzo Brunner, is the fruit of hard work which required greater efforts than anticipated due to the difficulty to find her works, especially the ones related to her bond with the Italian artistic and, in particular, Julian culture. Apart from a long episode in Paris, interrupted by Milanese and Roman breaks, it is in Trieste – where she arrived with her mother – that Fini developed her inclination for art, in a climate rich in cultural ferment with the contribution of figures like Svevo and Saba, Bobi Bazlen and Gillo Dorlfes.
The 250 works featured in the exhibition – about one hundred paintings, the same number of sheets including drawings and prints, and about fifty marvellous illustrated volumes – intend to narrate both the origins of Leonor Fini’s artistic formation, and her difficult relationship with the Italian critics, rebuilding the identikit and personality of a woman of learning, too often obscured by her own striking and magnetic presence.
Defined “splendid devil”, considered by Ernst “the Italian Fury of Paris”, she loved to live in the myth of herself and populated her pictures with cat-women– curvy and sensual like her – sphinxes, games of mirrors and doubles, dominating women and almost asexual men. The exhibition will also give room to her vanity and her desire for self-celebration, immortalised in many high-quality photos. Indeed, Leonor Fini is portrayed in the shots of some of the great 20th century photographers like Henri Cartier Bresson, Man Ray, Cecil Beaton, Arturo Ghergo and André Ostier, and she was filmed in movies and videos by directors who were hypnotised by her charm and charisma.
Among the early works, from the Twenties, there are some unpublished and undoubtedly interesting works, traced down in some private collections from Trieste, together with early paintings jealously kept by the artist herself until she died. Then, an entire section is dedicated to her relationship with Achille Funi, whom she met in Milan, to reciprocal portraits and to works done together.
From the Thirties there is a series of paintings, which come from Paris, dominated by a synthesis of metaphysical elements and elements from the Ferrarese Quattrocento with the influence of Picasso, like many portraits of her first partner in Paris. The Forties are narrated by a series of magnificent portraits and some masterpieces of Surrealist matrix like The Shepherdess of the Sphinxes and Amauri Witches. For the first time the famous Portrait of Anna Magnani from 1952 is exhibited, next to the ones of other renowned characters: Valentina Cortese, Alida Valli and Fabrizio Clerici. Self-portrait with red hat is the painting which represents well and introduces the works from the Sixties. Even the last period of the artist’s career was very productive, as she conceived works of strong impact, imbued with memories that, in particular, go back to the ghosts from the past.
Finally, a particular section is dedicated to painters, living and not, friends of Leonor Fini, those who were close to her, like Enrico Colombotto Rosso, Leonardo Cremonini, Eros Renzetti, Stanislao Lepri, Dorotea Tanning and Fabrizio Clerici, just to mention a few. The loans have been given by prestigious museums and collections from all over the world, including the Guggenheim Collection, the Gallery of Modern Art of Ferrara, the Weinstein Gallery of San Francisco, the CFM Gallery of New York, the Fini Archive of Paris and collections from Luxembourg and Switzerland.
About the Author
Silvia Bosi
Arcadja Art Magazine
http://www.arcadja.com/artmagazine/en/2009/08/06/leonor-fini-returns-to-trieste/
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