Emilio Vedova - painter

Self-taught Venetian became influential figure in 20th century Italian art

Emilio Vedova was one of the 20th
century's most influential artists

The painter Emilio Vedova, regarded as one of the most influential Italian artists in the second half of the 20th century, was born in Venice on this day in 1919.

Vedova was known for his expressive abstract paintings, which often had a raw and violent character seemingly inspired by the tumultuous political climate of his time and the apprehension that clouded people’s lives.

A politically engaged figure, in 1942 he joined the Milanese anti-Fascist artists’ association known as Corrente, which included other painters such as Renato Guttuso and Renato Birolli, and fought in the Italian Resistance movement from 1943-45.

After World War Two, he was a co-signatory in 1946 with Corrente member Ennio Morlotti of the Oltre Guernica - Beyond Guernica - manifesto, which encouraged artists to use abstract notions rather than figures to reflect the reality of society.  A year later, he founded Fronte Nuovo delle Arti.  He described his paintings of this period as Geometrie nere (Black geometries).

Vedova is also associated with the Italian school of Arte Informale, a movement that emerged in various parts of Europe in the mid-1940s, which paralleled the Abstract Expressionism movement in the United States.  Both favoured an art based on spontaneous, expressive gestures and a rejection of traditional forms. In Italy, Vedova, Alberto Burri and Lucio Fontana were the most prominent painters in this movement.

Born in Venice into a working-class family, Vedova's father was a house painter. His own first employment - at the age of 11 - was in a factory, after which he was taken on as a photographer’s assistant before finding a position in a restoration workshop. 

Vedova's Image of Time/Barrier (1958) can be seen
at the Peggy Guggenheim Collection in Venice

At the same time, he developed a passionate interest in drawing and painting. He studied the works of Titian, Tintoretto and Guardi in his native city but also Rembrandt, Goya and Daumier.  Some of his own early work was inspired by Venetian Baroque architecture, in particular the churches, in which he admired the dynamism of their lines and the way they made use of light.

He went to Florence to attend a free school of nude painting, mixing with other artists and artisans in the San Frediano district. It was there he made his first contacts within anti-Fascist circles. 

Returning to Venice, he struggled to make ends meet but with the help of the Opera Bevilacqua La Masa, which supported poor artists, managed to obtain an attic-studio in Palazzo Carminati. His first paintings on public view - mainly nudes and still lifes - were exhibited at the Galleria Ongania in Venice in 1940.

Appalled at the direction in which Italy was travelling under Mussolini, his attraction to the Corrente group in Milan was that he saw it as a counterpoint to the Novecento and Italian Futurism schools, both of which were regarded as nationalistic and pro-Fascist.

As a young painter, Vedova was fortunate to be
provided with a studio by a charitable organisation

Given his own passionate opposition to Fascism, it was no surprise that he was drawn to the Resistance movement. He took part in activities in Rome and in the hills around Belluno in the Veneto, where he was wounded.

When peace returned, he began to create pastels in which he expressed his state of mind as it was shaped by the experience of war.  In 1948 he participated for the first time in the Venice Biennale. By 1952, his work was seen as important enough to have a room at the exhibition entirely dedicated to him. 

In 1951, Vedova exhibited his first solo show in the United States at the Catherine Viviano Gallery in New York, where he began to be noticed by high-profile collectors such as Peggy Guggenheim. He received a Guggenheim International award in 1956 and the Grand Prize for Painting at the 1960 Venice Biennale.

As appreciation for his work spread, he spent time abroad, including spells in Brazil, Japan, the United States, Mexico and Berlin.  Back in Italy, the student revolts of the late 1960s and the instability of the so-called Years of Lead in the 1970s and ‘80s, informed his work in the same way as his wartime experience earlier.

Vedova was a restlessly inventive artist throughout his career. He collaborated with the avant-garde composer Luigi Nono, designing sets and costumes for the opera Intolleranza in 1960, and a light setting for Nono's opera Prometeo at La Fenice in 1984. 

He designed large-scale glass engravings, as well as numerous plurimi - freestanding, multi-panelled painted sculptures made of wood and metal.  In 1993 the Accademia dei Lincei awarded him the Feltrinelli Prize for painting, and in 1997 he received the Golden Lion for his work at the Venice Biennale.

His work began to find a permanent place in gallery and museum exhibitions at the Galleria Nazionale d'Arte Moderna in Rome and the Peggy Guggenheim Collection in Venice among others.

He kept a permanent home in Venice for much of his life and between 1975 and 1986 taught the city’s Accademia di Belle Arti.  He died in Venice in 2006 at the age of 87. He is buried in the monumental cemetery of San Michele, on an island in the lagoon.

An example of the studio spaces on offer to
selected young artists at Palazzo Carminati

Travel tip:

The Palazzo Carminati, where Emilio Vedova had his first studio, is in the Santa Croce sestiere of Venice. Recently restored, in addition to offering a wonderful view of the city, the top floor of the historic building also houses seven studios for selected young artists under the auspices of the Bevilacqua La Masa foundation, and two guest houses reserved for residency programmes.  It can be accessed from the San Stae vaporetto stop by walking approximately 230m along Salizada San Stae and turning right into Ramo Carminati. 

The Peggy Guggenheim Collection is kept
at the Palazzo Venier dei Leoni in Venice

Travel tip:

Peggy Guggenheim died in 1979 but her legacy to Venice remains in the collection of modern art she accumulated, much of which is on display at the Peggy Guggenheim Collection, a museum located in the 18th century Palazzo Venier dei Leoni, on the Grand Canal in the Dorsoduro district, where the American heiress lived for three decades. Open to the public from 10am to 6pm, the Peggy Guggenheim Collection is home to the works of many prominent painters.  Two works by Emilio Vedova acquired by her in the 1950s remain in the collection: Image of Time/Barrier (1958) and Hostage City (1954). More recently, Vedova's monotype Opposite Space IV (2006) was donated to the Collection by the Emilio and Annabianca Vedova Foundation.

Also on this day:

1173: Work begins on the campanile later famous as the Leaning Tower of Pisa

1939: The birth of politician Romano Prodi

1973: The birth of footballer and coach Filippo Inzaghi

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Luisa Casati – heiress and muse

Outrageous marchioness saw herself as a living work of art

The Marchesa Casati photographed by
Adolfo de Meyer in 1912

The heiress, socialite and artist’s muse Luisa Casati, known for her outlandish dresses, exotic pets and hedonistic lifestyle, was born on this day in 1881 in Milan.

Casati, born into a wealthy background, married a marquis – Camillo, Marchese Casati Stampa di Soncino – when she was 19 and provided him with a daughter, Cristina, a year later, yet the marriage was never strong and they kept separate residences from an early stage.

It was not long before she tired of a life bound by formalities and the strict rules of etiquette and everything changed after she met the poet, patriot and lothario Gabriele D’Annunzio at a society hunt.

They became lovers and D’Annunzio introduced her to the world of writers and artists.  Tall, almost painfully thin and with striking looks, she became a creature of fascination for many young artists, who craved the attention of this eccentric aristocrat and the chance to paint her.

Their interest only encouraged the Marchesa Casati to indulge her taste for the extravagant, posing in ever-more outlandish dresses, embracing the culture of the Belle Époque. Her wealth enabled her to throw lavish parties and in 1910 she moved to Venice, taking up residence in the Palazzo Venier dei Leoni on the Grand Canal, the palace that now houses the Peggy Guggenheim Collection.

Casati in 1922 in a typically
outrageous dress

There she created a fantastical lifestyle, assembling an extraordinary menagerie of pets that included a pair of cheetahs, a boa constrictor, white peacocks trained to perch on her window sills, a flock of albino blackbirds and greyhounds whose coats she dyed blue.

She staged enormous, elaborate parties, in which she paraded herself in increasingly ridiculous costumes, such as a dress made entirely of lightbulbs, which at one point gave her such a powerful electric shock she was thrown backwards across the room. 

Naturally shy, the Marchesa concentrated on making an impression through how she looked. She contrasted her fiery red hair with skin that she kept a deathly white, dropped belladonna in her eyes to dilate her pupils and framed them with black eye liner and false eyelashes.  She delighted in prowling the atmospheric Venetian streets after dark, with her jewel-collared cheetahs on leads, herself often naked beneath a cloak embroidered with emeralds.

Her parties, in Rome and Paris as well as Venice, may have seemed like merely excuses for decadence and excess, with opium and cocaine a common indulgence among some of the guests, but were affairs that she choreographed carefully, with clothes, décor and entertainment precisely planned according to whichever theme she chose.  She saw herself as a living work of art.

She was certainly an inspiration for works of art.  Giovanni Boldini, Paolo Troubetzkoy, Adolph de Meyer and Romaine Brooks were among those painters who were in her thrall, along with Futurists such as Fortunato Depero and Umberto Boccioni. She had affairs with several. Augustus John's portrait of her is one of the most popular paintings at the Art Gallery of Ontario.

The Marchesa with a greyhound,
painted by Giovanni Boldoni

D'Annunzio is said to have based the character of Isabella Inghirami in Forse che si forse che no (Maybe yes, maybe no) on Casati, while the character of La Casinelle, who appeared in two novels by Michel Georges-Michel, was also inspired by her. Plays and movies were written featuring characters based on the Marchesa, with actresses such as Vivien Leigh and Ingrid Bergman in the lead roles.

She patronised a number of fashion designers. John Galliano, Karl Lagerfeld and Alexander McQueen created collections based on or inspired by her, while the British designers Georgina Chapman and Karen Craig had her in mind when they opened a fashion house called Marchesa.

It was all a far cry from a childhood lived in a palace in Milan and villas in Monza and on Lake Como. Her father was Alberto Amman, a giant in the textile industry who was made a Count by Umberto I and whose death when Luisa was 15 made her and her sister, Francesca, the two wealthiest young women in Italy.

But her extravagances did not come cheap.  By 1920 she was living on Capri at the Swedish psychiatrist Axel Munthe’s Villa San Michele and moved out of the Palazzo Venier dei Leoni in the mid-1920s.  By 1930 she had amassed personal debts of $25 million and was forced to auction off her possessions.

Pursued by creditors, she fled to London and lived in a one-bedroom flat. It was just around the corner from Harrods in hardly the least salubrious part of the city, yet placed her reduced circumstances by her standards.

Casati's grave in London

She died in London in June 1957 at her address in Beaufort Gardens in Knightsbridge at the age of 76, having suffered a stroke.  She was buried at Brompton Cemetery, one of her few remaining friends having seen to it that she was dressed in a leopard skin and black outfit and false eyelashes, with one of her taxidermied Pekinese dogs at her side.

Among just a handful of mourners at her funeral was an elderly man who had travelled from Venice, where half a century earlier he had been her personal gondolier.  Her grave is marked with a small tombstone shaped like an urn draped in cloth, bearing the inscription ‘Age cannot wither her, nor custom stale her infinite variety’ from Shakespeare's Antony and Cleopatra.

An autumnal scene in Milan's Parco Nord

Travel tip:

The Marchesa Casati’s married home in Milan was the Villa Casati, a stately mansion on the edge of what is now Parco Nord, a suburban park that was once an airfield, in Cinisello Balsamo, then a town in its own right, now more of a suburb. It is on the northern edge of the Milan metropolitan area, about 10km (6 miles) from the city centre. More than 75,000 people now live there.

The Grand Canal frontage of the Palazzo Venier dei Leoni

Travel tip:

The Palazzo Venier dei Leoni is a palace on the Grand Canal in Venice once owned by a noble Venetian family of the 14^th to 16^th century, three of whom – Antonio Venier, Francesco Venier and Sebastiano Venier – were Doges.  It was bought by the American socialite and arts patron Peggy Guggenheim in 1949 and she lived there for 30 years, opening her collection of artworks to the public for the first time in 1951.  It is in the Dorsoduro quarter of Venice, near where it emerges into the lagoon, accessed from San Marco via the Accademia Bridge.

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