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Introductory Corridor (Before Room 1): IntroductionWelcome to the exhibition "I am Leonor Fini". This title, a direct quote from the artist, is not a simple label, but a true declaration of intent. A powerful and unequivocal affirmation of identity that resonates throughout the entire exhibition. Along this corridor, the photographs on display offer you a first glimpse into the life and personality of Leonor Fini: a woman who challenged the conventions of her time, building an image of herself that was eccentric, free, and profoundly artistic. Notice her gaze, always intense, sometimes provocative, sometimes enigmatic. Observe her often extravagant clothes, her beloved cats, constant presences in her life and art, and the artist friends who surrounded her. Leonor Fini, born in Buenos Aires in 1907 to an Italian mother, spent her childhood and adolescence in the lively Trieste of the early 20th century. A cosmopolitan environment, rich in cultural stimuli, which nurtured her imagination and artistic sensibility. Hers was a family of strong and independent women, a model that would profoundly mark her. From childhood, Fini showed a precocious talent for drawing and painting, and an attraction to mystery, the unconscious, and the world of dreams. Moving to Milan and then to Paris, Fini came into contact with the artistic avant-gardes of the time, particularly Surrealism. While sharing with the Surrealists an interest in the oneiric, eroticism, and the unconscious, Fini always maintained her creative independence, refusing to be labeled or pigeonholed into a specific movement. Her work, in fact, is a weaving of different suggestions, ranging from the Italian Renaissance to Mannerism, from Metaphysical painting to Symbolism, up to foreshadowing highly topical themes such as gender fluidity and the redefinition of male and female roles. The exhibition you are about to visit is a journey through this complex and fascinating universe. Nine thematic sections will guide you in discovering the different facets of her art: painting, drawing, set design, costume, writing, and photography. Each work is a piece of a larger mosaic, a fragment of a restless and visionary soul. Prepare for a journey full of surprises, sometimes unsettling, but always deeply engaging. Now, enter the first room, entitled "Primal Scenes".
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Room 1: Primal ScenesThis first room is dedicated to the "Primal Scenes", that is, to those events and images from Leonor Fini's childhood and adolescence that left an indelible mark on her imagination, becoming true conceptual pillars of her work. Look carefully at "Orange Sphinx / Winged Sphinx" (1973). The sphinx, with its lioness body and woman's face, is a recurring figure in Fini's iconography, almost an alter ego. The artist was fascinated by this mythological creature since she was a child, when in Trieste she admired the statues and architectural decorations that populated the city. The sphinx of Miramare Castle, in particular, an imposing pink porphyry sculpture from Egypt, became for her a symbol of strength, mystery, and independence. Notice how, in this work, the sphinx is painted in a bright orange, a color that conveys energy and vitality. The outstretched wings suggest a sense of freedom and power, as if the creature were ready to take flight towards another world, a world of dream and magic. The sphinx, for Fini, is not a monster to be feared, but an enigmatic and fascinating figure, which embodies the ambiguity and complexity of the human being. Turn your gaze to "Travellers at Rest" (1978). The figures depicted introduce us to the theme of blindness, an experience that profoundly marked Leonor Fini during her adolescence. The scene, set in a dreamlike landscape, almost a classical ruin, presents figures, travelers, limited in their ability to see. This visual limitation refers to the episode in which, at sixteen, Fini was forced into immobility and darkness due to a serious eye infection. During that period, she developed a heightened tactile and auditory sensitivity, exploring the world through different perceptions. This amplified sensory experience, combined with isolation, resulted in a rich inner imagination, which profoundly influenced her subsequent artistic production.
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Room 2: The Beginnings of a WorldThe second room introduces us to the beginnings of Leonor Fini's artistic career and her complex relationship with the Surrealist movement. "Self-portrait with Owl" (1936) is a key work of this period. Fini portrays herself with an owl perched on her shoulder, a symbol of wisdom, but also of mystery and foresight. Her gaze is proud, piercing, almost as if to challenge the viewer. The artist presents herself as a figure aware of her own creative power, able to draw from the depths of the unconscious to give life to visionary and suggestive images. This self-portrait is a true declaration of intent, a manifesto of her poetics. The owl, moreover, is not a random detail. Fini loved to surround herself with animals, particularly cats, which she considered magical creatures, endowed with a particular sensitivity. In many photographs of the time, we see her portrayed with her beloved felines, almost as if to underline her bond with the animal world and with the instinctive forces of nature. Turn your gaze to "The White Weapon" (1936). In this painting, two female figures face each other in a symbolic duel. One, dressed in a dark dress and a mask, brandishes a sword, "the white weapon" of the title. The other, naked and vulnerable, seems to succumb. The scene is charged with tension and ambiguity. Fini stages a struggle for self-affirmation, for the conquest of a space of freedom and autonomy in a world dominated by men. The work reflects her vision of the woman as a strong, independent figure, capable of fighting for her rights and for her freedom. It is important to remember that Fini, although frequenting the Surrealists and participating in their exhibitions, never fully identified with the movement. She rejected the vision of the woman as an inspiring muse, a passive object of the male gaze. In her works, the woman is always an active subject, the protagonist of her own story.
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Room 3: The Ends of the WorldThe third room leads us into a darker and more disturbing atmosphere, reflecting the anxieties and uncertainties of an era marked by world wars. "Ends of the Earth" (1948), which gives the section its title, is an emblematic work of this period. A woman emerges from dark and slimy waters, surrounded by skulls and debris. The fiery sky in the background seems to presage an imminent apocalypse. The atmosphere is desolate, but the woman does not appear frightened. Her gaze is calm, determined, almost as if to challenge the destruction that surrounds her. This work can be interpreted as a metaphor for the human condition, suspended between life and death, between hope and despair. But it is also an image of resilience, of inner strength, of the ability to resist even in the face of the most extreme adversities. It is interesting to note that Fini created "Ends of the Earth" after undergoing a hysterectomy, a traumatic experience that led her to confront her own mortality and the theme of denied fertility. The work, therefore, can also be read as a reflection on the female body, on its strength and fragility, on its ability to generate life, but also to face death. Now observe "The Great Root" (1943-1950). A large, knotty and twisted root emerges from an arid and desolate ground. Its sinuous, almost human forms seem to animate, to come to life. The work evokes the force of nature, its ability to regenerate and survive even in the most adverse conditions, but also its dark and disturbing side. The root can be seen as a symbol of life, but also of death, of rootedness, but also of uprooting. Fini created this work during her stay on the island of Giglio, an isolated and wild place where she had taken refuge during the Second World War. The island, with its uncontaminated nature, became for her a source of inspiration, a place to find herself and her creativity.
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Room 4: LiaisonsThe fourth room introduces us to theme of intimate relationships, emotional ties, and desire, as they are represented in Leonor Fini’s work. "The Alcove (Self-Portrait with Nico Papatakis)" (1941) is a fundamental work in this section. In a dimly lit room, a nude man sleeps deeply in a four-poster bed. Beside him, a female figure, dressed in a dark dress, observes him with an intense and penetrating gaze. The scene is charged with eroticism and mystery. The dark and deep colors help to create an intimate and evocative setting. The alcove, the home’s most private space, becomes the symbolic setting in which Fini explores the dynamics of power between man and woman. In this, as in many other works, Fini overturns stereotypes and social conventions. It is the woman who is in a position of power, while the man, nude and asleep, appears vulnerable and defenseless. Turn your gaze to "Self-Portrait with Kot and Sergio" (1952). In this painting, Fini portrays herself in the company of two of her companions, Constantin Jelenski and Sergio Gajardo. The work attests to her unconventional romantic life, her fluid and open vision of sexuality. Fini, in the center of the composition, is the only clothed figure. Her gaze, intense and piercing, is fixed on the viewer. The work speaks to us of complex relationships, of affections that defy traditional definitions, an idea of love and desire free from patterns and prejudices. Fini was in the habit of holding dinners and parties in her Paris home, attended by artists, intellectuals, and friends. These gatherings were often marked by a playful and provocative air, where roles and identities blended and overlapped. "Self-Portrait with Kot and Sergio" may also be read as a depiction of this cultural climate, where social conventions were called into question.
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Room 5: Incomparable NarcissusThis section explores a key aspect of Leonor Fini's work: her personal and subversive reinterpretation of the male body and the theme of androgyny. Look closely at "Portrait of Nico Papatakis" (1942). Papatakis, actor and companion of Fini, is shown lying on the ground, completely naked. His relaxed pose and intense, enigmatic expression capture the viewer's attention. Fini focuses on the interiority of the subject, highlighting his fragility and sensuality, questioning gender stereotypes and anticipating the concept of fluidity. The natural setting, with the ground strewn with leaves, and the soft light create a dreamlike atmosphere, inviting the viewer to question the complexity of male identity. Let's move on to "Unrivalled Narcissus" (1971). This work represents a culmination in Fini's reflection on the theme of androgyny. A naked young man, of ephebic beauty, is lying on his side, in a pose reminiscent of an ancient river god. His body is sinuous, delicate, his features are androgynous and his gaze is lost in a distant dream. The indefinite, almost abstract background contributes to creating a suspended, timeless atmosphere. This work is a true celebration of androgynous beauty, a beauty that escapes definitions, which does not allow itself to be harnessed by social conventions, let alone by a rigid division between masculine and feminine.
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Room 6: Archetypes of Female PowerThe sixth room explores Fini’s vision of femininity. Here, the woman is no longer muse or object of desire, but an active, strong, independent, even, at times, menacing, subject. "The Alcove / The Black Room" (1940) introduces us to a dimly lit room, an intimate and mysterious space. Three female figures, dressed in elegant clothes, are at the center of the scene. One of them is lying on a bed, while the other two seem to be watching over her. The atmosphere is suspended, charged with eroticism and ambiguity. The work explores the theme of female desire and the complexity of relationships between women, questioning traditional gender roles. Let's focus now on "Woman in Armour II" (1938). This work presents a young woman dressed in armor. The image, powerful and evocative, refers to the strength and independence of the female. The armor, traditionally a symbol of virility and male power, here becomes an attribute of the woman, underlining her ability to protect herself and to assert herself in a world dominated by men. Fini, through her art, invites us to reconsider the role of women in society, to free ourselves from the stereotypes that want her fragile and submissive. Finally, turn your gaze to "Sphinx" (c. 1950). The sphinx, a hybrid mythological creature, half woman and half lioness, returns to being the protagonist. Here, Fini represents it in profile, with an enigmatic expression and a regal bearing. Its body is strong, sinuous, a symbol of power and pride. But the sphinx, for Fini, is not only strength. It is also mystery, knowledge, wisdom. It is a guardian, not a devouring monster.
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Room 7: Rituals, Ceremonies, and MetamorphosesThis section introduces us to the world of the occult, magic, and transformations of the body and spirit, themes that deeply fascinated Leonor Fini. "The Guardian of the Phoenixes" (1954) depicts a female figure, the "Guardian", holding an egg, a symbol of birth, regeneration, and potential. The fiery and arid landscape behind her evokes an atmosphere of mystery and transformation. This woman is the custodian of an ancient and secret knowledge, linked to the cycles of life and death. The work is deeply linked to Fini's interest in alchemy, the ancient practice that aimed at the transformation of matter and the achievement of spiritual perfection. The phoenix, the mythological bird that rises from its own ashes, is an alchemical symbol of transformation, rebirth and immortality. Let's move on to "The Ceremony" (1960). The painting introduces us to a ritual, almost witch-like atmosphere. Two female figures, girded by a red cloth, are intent on celebrating a rite, surrounded by skulls, candles and other symbolic objects. The night sky and the crescent moon accentuate the magical and disturbing atmosphere. Fini invites us to explore an underground world, made up of occult forces that act beyond visible reality. The masks worn by the two figures are a key element: the mask, a symbol of transformation and concealment, allows one to hide one's identity and assume another, opening the doors to other dimensions of being. These works reflect Fini's fascination with esotericism, witchcraft, rituals, seen as tools to explore the darker and more mysterious sides of the human soul, and to come into contact with higher forces.
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Room 8: Stage or BoudoirThe eighth room is dedicated to the relationship between Leonor Fini, the theater and fashion, two areas in which the artist expressed her creativity in an original and surprising way. Observe the "Anthropomorphic Wardrobe" (1939). Not a simple wardrobe, but a design object that challenges conventions. The doors, shaped like a woman's body, and the pink satin-lined interior, create a mix of sensuality and irony, typical of Fini's style. This wardrobe, commissioned by the gallery owner Leo Castelli, was intended to contain a collection of gloves designed by Fini, demonstrating how for the artist art should permeate every aspect of life, including everyday objects. The bottle for Elsa Schiaparelli's "Shocking" perfume (1937) is another example of Fini's creativity applied to design. The shape of the bottle, inspired by the bust of actress Mae West, is an allusion to sensuality, eroticism, and transgression. The collaboration between Fini and Schiaparelli, two nonconformist and visionary women, gave life to unique creations, capable of blending art, fashion and design. Finally, the sketches for the costumes of Wagner's Tannhäuser (1963), created for the staging at the Opéra de Paris, show us another side of Fini's talent: her ability to create theatrical costumes rich in detail, colors and dreamlike suggestions. These sketches testify to her collaboration with the world of theater, an area that allowed her to express her creativity in a spectacular and engaging way.
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Room 9: PersonaThe final room is dedicated to the construction of the Leonor Fini persona, to her relationship with photography and self-portraiture. "Self-Portrait with Red Hat" (1968) is an emblematic work of this section. Fini portrays herself in an enigmatic and theatrical pose, with a large red hat that frames her face and creates a strong contrast with the dark background. The gaze is intense, penetrating, almost as if to challenge the viewer. This self-portrait is a perfect example of how Fini used painting, but also photography, to build her public image, to create a mysterious and fascinating character, poised between reality and fiction. Fini loved to wear eccentric hats and accessories, which became an integral part of her character, a way to express her uniqueness and originality. The photographs on display in this room document Fini's life, her acquaintances, her love of disguises, her ability to transform her very existence into a work of art. We see Fini in the company of friends and artists, but also in more intimate moments, surrounded by her beloved cats. These images give us the portrait of a complex, fascinating, free and nonconformist woman, who knew how to make her life a work of art.
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ConclusionThe exhibition "I am Leonor Fini" ends here. I hope that this journey through the work and life of this extraordinary artist has offered you new insights and has allowed you to appreciate the complexity and richness of her creative universe. Leonor Fini was a unique figure in the artistic panorama of the twentieth century, a woman who challenged conventions, who claimed her freedom and independence, who knew how to express her vision of the world through an original and powerful artistic language. "I am Leonor Fini", she loved to repeat. A declaration of identity that is also an invitation to each of us to find our own voice, to express our uniqueness, to live our life as a work of art. Thank you for your attention. At the exit you will find the exhibition bookshop and we remind you that you can find all the details and insights on the exhibition on the museum website.