Leandra Cominazzini, dreamlike and visionary futurist

(ANSA) – ROME, NOV 14 – “ I painted strange things ”, this is how Leandra Cominazzini described herself in telling the first steps of her research animated by the urgency to find new artistic expressions, an activity that would have led her to enter the end of the Twenties in the group of Umbrian futurists with its strong oneiric imprint and cosmic impulses. 40 years after his death Foligno, his city, tells it until next January 24 in the great anthology curated by Massimo Duranti and Andrea Baffoni which is the opportunity for an all-round rereading of languages, techniques and temporality , in the sense of the re-evaluation of the post-futurist pictorial evolution and of the value of other productions ”, from poetry to applied arts, from ceramics to fabrics. Moreover, multidisciplinarity was a common trait of the small but aggressive group of women who chose to follow Filippo Tommaso Marinetti despite the openly misogynistic character of the Movement. Leandra Angelucci Cominazzini (1890-1981), daughter of the good bourgeoisie of the city, managed to create a particular space for herself thanks to her friendship with Benedetta Cappa, Marinetti’s wife, a very good painter who had studied with Giacomo Balla. It was she who facilitated her entry among the Umbrian futurists, among whom the Perugian Gerardo Dottori was one of her points of reference, creating space for her among the exponents of aeropainting. Among the paintings on display, the aeropictoric portrait of the Marinetti family, made between 1930 and 1933 by Dottori, with the founder of Futurism alongside his wife Benedetta and daughters Vittoria, Luce and Ala, stands out. Duranti, who in 1883 curated the painter’s first anthology together with Enrico Crispolti, acknowledges having discovered her works thanks to the epochal exhibition curated by Lea Vergine in Milan in 1980 entitled “ the Other half of the Avant-garde ”, dedicated to female artists of the first half of the twentieth century misunderstood or completely ignored. A work with the same title that has become a fundamental book that has paved the way for a rewriting of the history of art, finally attentive to recognizing the role and contribution of women. (HANDLE).

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