Carla Lonzi @ The National Gallery

1959 - 1969: a decade of Carla Lonzi's accounts of the National Gallery's exhibitions

"Le arti figurative e il teatro contemporaneo", Oggetto 14 (15 novembre 1958 - 28 marzo 1959) by Lonzi CarlaLa Galleria Nazionale

The first official contact between Carla Lonzi and the National Gallery took place in 1959, on the occasion of Modern art and the theatre, a series of meetings organised by Giovanni Carandente.

Carla Lonzi was invited to hold her presentation entitled The figurative arts and contemporary theatre.

"Le arti figurative e il teatro contemporaneo", Oggetto 57 (15 novembre 1958 - 28 marzo 1959) by Lonzi CarlaLa Galleria Nazionale

The Lonzi Archive is proof of the scholar's considerable preparation and research work on the theme of the conference.

"Le arti figurative e il teatro contemporaneo", Oggetto 38 (15 novembre 1958 - 28 marzo 1959) by Lonzi CarlaLa Galleria Nazionale

Among other documents, the archive contains the photographic reproductions of particularly meaningful scenography, produced by artists such as Giorgio de Chirico, Felice Casorati, Mario Sironi, Enrico Prampolini, Carlo Carrà, Renato Guttuso.

"Le arti figurative e il teatro contemporaneo", Oggetto 61 (15 novembre 1958 - 28 marzo 1959) by Lonzi CarlaLa Galleria Nazionale

The original typescript of the conference text is also included.

"Le arti figurative e il teatro contemporaneo", Oggetto 89 (15 novembre 1958 - 28 marzo 1959) by Lonzi CarlaLa Galleria Nazionale

And Carla Lonzi's long correspondence with Giovanni Carandente and Palma Bucarelli.

"Le arti figurative e il teatro contemporaneo", Oggetto 92 (15 novembre 1958 - 28 marzo 1959) by Lonzi CarlaLa Galleria Nazionale

“… There is a different way of dealing with the issue of the relationship between figurative arts and contemporary scenography and it consists in researching which spatial solutions from the crisis of the naturalist theatre boosted modern scenography...”.

"Le arti figurative e il teatro contemporaneo", Oggetto 5 (15 novembre 1958 - 28 marzo 1959) by Lonzi CarlaLa Galleria Nazionale

“… In other words, how theatre, driven by symbolist needs, rejected the old space of naturalism to replace it with a new one, suitable for housing the new poetic inspirations and expressing them…”.

Apparato iconografico, Oggetto 542 (20 aprile 1956 - 19 settembre 1956) by Lonzi CarlaLa Galleria Nazionale

"Le arti figurative e il teatro contemporaneo", Oggetto 3 (15 novembre 1958 - 28 marzo 1959) by Lonzi CarlaLa Galleria Nazionale

«L'Approdo letterario», Oggetto 32 (09 marzo 1959 - 21 settembre 1967) by Lonzi CarlaLa Galleria Nazionale

On that same year, 1959, Carla Lonzi was invited by her teacher, the art historian Roberto Loghi, to collaborate with the art magazine L’Approdo Letterario (The Literary Landing), for which Lonzi edited the exhibition of figurative arts until 1969.

"Le arti figurative e il teatro contemporaneo", Oggetto 5 (15 novembre 1958 - 28 marzo 1959) by Lonzi CarlaLa Galleria Nazionale

On several occasions Carla Lonzi voiced her thoughts on the exhibitions of the National Gallery from the pages of L’Approdo Letterario.

The first was the one on the Russian artist Kazimir Malevič, quoted in the article published in July 1959.

Apparato iconografico, Oggetto 310 (20 aprile 1956 - 19 settembre 1956) by Lonzi CarlaLa Galleria Nazionale

Other major exhibitions dedicated by the National Gallery to the masters of modern art followed, such as the De Stijl exhibition finely described by Lonzi, and also narrated by her on the radio broadcast L’Approdo in January 1961.

"Le arti figurative e il teatro contemporaneo", Oggetto 1 (15 novembre 1958 - 28 marzo 1959) by Lonzi CarlaLa Galleria Nazionale

In 1962, Lonzi reviewed two exhibitions at the National Gallery from the pages of the magazine: the one on Oska Schlemmer and the great retrospective on American artist Mark Rothko.

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The collaboration with L'Approdo Letterario ended in 1969, the year when Carla Lonzi and master Roberto Longhi’s relationship came to an end and which marked the beginning of Lonzi's existential turning point, which will lead her to abandon her profession as art critic and to found the group Rivolta Femminile (Female Revolt) alongside Carla Accardi and Elvira Banotti.

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