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NOTE OF
THE CURATOR
Writes the authoress
in her foreword: Finally I could start again to paint nudes
and portraits, refusing the cliché they wanted to impose
on me.
It was Max Ernst who in those years encouraged her to add
figurative elements to abstract compositions.
A. Cima got to know Max Ernst at the gallery “Jolas”
in Milan.
But shortly there after, being aware that the market and the
art galleries were playing a one way game, A. Cima stopped
any exposition, dedicating only pencil-portraits to her closest
friends.
Her portrait-drawings through the years include Marianne Moore
and Eugenio Montale, Aldo Palazzeschi and Giuseppe Ungaretti
and Rita Levi Montalcini, and younger friends like Vanni Scheiwiller,
Marisa Bulgheroni, Vico Faggi.
Trasformation, 1969
65
x 44 cm
Oil on canvas
Still today A. Cima continues this exercise, in the hope that
“aesthetics and the
arts could save the world, recuperating ethics and noble thinking
which otherwise could sorrowfully cancel each other out”.
Montale writes, “you already have three talismans: /
pen, music and colors.”.
In some of the many poems E. Montale dedicated to A. Cima
in Diario postumo you can find verses regarding her poetry:
“I tuoi cristalli trasparenti / non periranno nella funerea
scia, / già travalicano le lugubri scacchiere / che
decidon le sorti. / Nell’ora cara agli dei / tutto muterà
d’un tratto, / era già scritto.”.
Annalisa Cima passed on to “logos”, the word which
“could save ourselves”, in the utopic desire for
a platonic republic, in a world where muses and the arts are
triumphant.
Also where one can forget divisions and qualunquismo, living
in the dream of the beautiful, like the gods on Olympus, in
a “phalanstery” only for musicians, painters and
poets where exclude personal interests and vile ambitions
are excluded and the metaphysics of the word, the gesture,
the voice with which to find the forgotten Eden, are privileged.
Vanni Scheiwiller
Traduzione di Friedrich G. Glombik
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