Adriana Pincherle is considered the last heir to the Roman School, an off-shoot of the Expressionistic movement. Her style was in direct opposition to the Classicism supported by the Fascist regime. The 2016 exhibition Adriana Pincherle: Colors of an Artist, at Palazzo Palazzo Panciatichi, was part of the 'Women Artists of the 1900s' calendar, a biennale programme inaugurated two years prior. Its highlight was the display of 13 newly conserved portraits and self-portraits by Pincherle, which AWA restored for the Gabinetto Scientifico Letterario G.P. Vieusseux. Its sister show, Pincherle and Pacini: Art and Memory, was held concurrently at Il Palmerino Cultural Association. These events jointly commemorated the twentieth anniversary of the artist’s death in 1996.

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In her essay, ‘Works of Adriana Pincherle in Florentine collections’, co-curator of both exhibitions Lucia Mannini discusses the artist’s creative flair. “When asked about the various artistic movements of the post-war period, Adriana Pincherle answered: ‘My painting has always been figurative, not realist. In this sense, I had more affinities with the informal, which fuelled my passion for colour to the extreme’.

 

At the dawn of the 1960s, the expressive force of Pincherle’s rich chromatic impasto and her use of increasingly bold and harmonious colours tackles recurrent themes including sunsets, cobs and barrels. They are ‘sensual’, with a certain internal profoundness in their dark depths. She paints with some measure of agression that brings to mind works by Renato Guttuso [...] She is manipulating the facts but has reached a delicate chromatic and visual equilibrium, that pushes the limits of Abstraction, a feat that has never been achieved.”

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Exhibition curators

Lucia Mannini and Chiara Toti

 

Partners and sponsors

Advancing Women Artists, Il Palmerino Cultural Association, Consulate of the United States of America in Florence, Tuscan Regional Council, Ente Cassa di Risparmio di Firenze, Giovanni Michelucci Foundation, Gabinetto Scientifico Letterario G.P. Vieusseux, Rossella Lari Restauro, The Florentine and The Florentine Press.