The Aesthetics of Transformation

Yesterday I finished mending the awning for our terrace pergola. It was not an enjoyable task but the awning is fundamental as I spend much of the morning (or at least would like to) at my terrace work table and need protection from the sun.

Visible Mending

The awning is made of heavy fabric once used for balcony curtains meant for privacy as much as for décor.  Having been out in the sun for so long, the fabric deteriorated.  So once repurposed as awning, all it took was a gust of strong wind to rip it. I was forced to buy new fabric but still wanted to maintain the old—you know, sustainabilty and sentiment. But also because of the fabric’s orange stripes that filters the sun and gives everything a warm glow.  Somewhat like a fabric stained glass window.

Visible Mending

After patching the rips and attaching the old fabric with the new, the awning is now repaired boro style. Honor has been given to the old fabric that for so long acted as faithful curtains for our balcony protecting us from the sun and my neighbor’s curiosity.

Visible Mending

I want to make my life photogenic. And a needle and thread helps a lot.

drawing

Related:   The Aesthetics of Mending. + Pillow books, kimonos and mottainai
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Quotable

clone experience b.jpg

 

for the next few weeks I will be focusing my posts on this blog:

FRIDA KAHLO WEARS HUIPILES!

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Pruning…once again

Al Sussurrata Terrace

We are busy trimming our bougainvillea so that its energy will move forward and, with time, wrap itself around our terrace.

bougainvilleaI have created a little window so that I can watch as my neighbor’s apricot tree makes its fruit that she will then transform into delicious jams.

Pruning is about getting rid of the past to make room for the present.

 

drawing

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The Burden of Beauty

Frederic Leighton was an English artist who followed his own shadow looking for a direction to go in. Maybe it was because he was still very young but I had a feeling it was because he was ambiguous within.  In fact, one evening while a group of us were drinking wine at Il Pincio, Leighton spoke of “that other strange second man”  living inside of him.  And maybe to keep from exposing his doppelgänger,  Leighton sought shelter in the penumbra.

Nanna Risi

Our Wednesday Morning Reading Club routinely visited the studios of other artists out of solidarity but also out of curiosity. That’s why one morning we showed up at Leighton’s studio on via della Purificazione.  He was busy painting his model, Nanna Risi, a cobbler’s wife from Trastevere. Nanna was dressed all in white with peacock feathers stuck in her hair.  Leighton generally dressed his models in period costumes as he used them for mythical or historical figures.  But not Nanna.  Her looks were so intense that she easily became her own subject matter.

Nanna Risi

Because of her haunting beauty, many artists of the expat group used Nanna as a model.  Then in 1860, she posed for Anselm Feuerbach and all the equilibriums were disrupted.  Feuerbach became obsessed with her and fell in love with this obsession.

He convinced Nanna to leave her husband and child to run off with him. For a few years the couple lived as lovers but the thrill eventually wore off.  Feuerbach saw her mainly as a model (he painted her over 20 times).  But Nanna didn’t live in a painting.  She was a woman in the real world and wanted to feel like it. So when a rich Brit courted her, she dumped the painter only to be dumped herself a few months later.  Nanna tried going back to Feuerbach but his wounded ego was done with her. Aged and rejected, artists now rarely asked her to model. So, in great economic difficulty, she took to begging in the streets.

Nanna Risi

One afternoon a few years later, I was walking down via del Corso when, from a distance, I could see Nanna panhandling. She was shaking her cup when Feuerbach walked by.  Instead of stopping to say hello, he simply waved and walked on. The expression on Nanna’s face broke my heart as she obviously felt humiliated. Well, I’m a firm believer in female synergy and solidarity.  So, with studied nonchalance, I bumped into her and, acting really surprised, said “Oh Nanna, what a pleasure to see you again!” then invited her to my house for a coffee.  Once home, I filled her with all the food I could find in the kitchen along with some wine and waited for the in vino veritas to take effect.

Nanna Risi

There was something about Nanna that really touched my soul. I asked her if, for money of course, she’d let me sketch her. So while she talked, I drew.

If I could give a name to Nanna’s story, it would be “The Burden of Beauty”.  Beautiful women tend to be objectified by men who are attracted to surface and rarely make the effort to comprehend substance.

Poor Nanna. She was a shipwrecked beauty without family, without money.  Being an object of desire had been, for her, a terminal experience. Since you can only desire that which you don’t have, a desire is just a void waiting to be filled. And once the void is filled, the desire disappears.  In other words, once Nanna succumbed to a man,  she immediately became obsolete.

 A few hours later after much wine and many sketches, Nanna left and I never saw or heard from her again.

(excerpt from The Roman Diary of Luz Corazzini ©)

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p.S.  the Italian model  (modèle italienne) in the academic tradition…  the archeologist and later conservator of the Louvre Museum  of Antiques,  Leon de Laborde, was enthusiastic about Italian models and encouraged using them. In the 1850s, many Italians moved to Paris during the Second Empire.  Because of their physical characteristics (as noted in Renaissance paintings), Italians became  very trendy as models.
Anselm Feuerbach was friends with Johannes Brahms who composed la Naenia to commemorate his death.
Feuerbach was part of the group of German artists living in Rome known as Deutschrömer.
“Theology is anthropology.” Anselm Feuerbach

via san Nicola da Tolentino 2….here in 1867 Anselm Feuerbach refuses Nanna

 

Related: Scorned Muse

 

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Freud’s Cat

Nothing can be more overwhelming for self-image and self-esteem  than a lousy love life—something I quickly learned after an abrupt break up. Unhappiness is very destructive and I began developing a series of quirks and tics  For example, I draped my mirrors with tulle so that my reflection was just a series of perforations. Or, if I saw couples kissing, my left eye would begin to blink uncontrollable then tear.

mirrors and tears

At the time, I was in Vienna visiting distant relatives.  Very distant. They told me about a doctor in vogue who seemed gifted in curing young women with emotional problems and arranged an appointment for me. That’s how I met Doctor  Freud.

there were strange objects on his desk

Conjecturing had led me to believe that, to unclutter the mind, an uncluttered environment was fundamental.  So I was really surprised by the doctor’s studio. Books and figurines were juxtaposed everywhere. For example, on his desk was a row of small goddess statues. And behind his desk was a glass case full of antiquities. My friend, Mona, had once warned me about men with collections.  She said that collecting is symptomatic of someone who needs to stay in control. So, instead of looking at his collection with interest, I started to feel a bit uncomfortable especially after he told me to lay down on his couch. My instincts told me to get out of there. And since instincts don’t lie, I invented an excuse and left.

she reclined on his couch

Lou Andreas-Salomè, who hung out with Freud, wrote in her diary about a cat that, from a window, would climb into the doctor’s study. The cat would closely inspect Freud’s antique objects then purr. Amazed that he would have something in common with a cat, Freud began giving him milk. But the cat was not impressed by this display of generosity and would completely ignore the doctor.  That’s how Freud understood he and the cat had more in common than an interest in little statues—they were both narcissistic.

Freud's Cat

Female narcissism is not the same as the male’s. Our narcissism is more a form of coquetry. Not having the same power in society as men, we’ve had to invent alternative arms. In a misogynist world, flirtation and innuendo can get us much more than can straight forward communication.

she was an armed geisha

And I wonder, was it narcissism that led Freud to collect phallic amulets?  His housekeeper use to comment on how the doctor had a small Baboon of Thoth statue with prominent genitals that he liked to stroke. Lou Andreas-Salomè also had a kind of phallic collection only hers was not made of stone. More than a narcissist, she was a seductress. Instead of looking into the mirror, she was a mirror looking out.

he sat and stroked his baboon

In Greek mythology, Narcissus was the kind of guy every woman looks at twice then wished she hadn’t. Not owning a mirror, he really didn’t know what a hunk he was.  Then one day, while walking by a lake, he decided to drink some water.  That’s how he saw his reflection and immediately fell in love with himself. Really, he couldn’t take his eyes of his reflection and just stayed there until he finally decomposed, turned into compost, then was  born again as a flower.

he looked at himself looking at himself

Narcissism makes your world smaller.  And when there’s only you, life is lonely.

freud8b

But back to novelist, seductress, and psychoanalyst, Lou Andreas-Salomè.

The writer Malwida von Meysenbug, who’d been living in Rome for years, invited us to one of her soirées.  We happily accepted as she knew the most exciting people.  It was there I met Lou and, even though she’d been very charming, I knew we could never be friends simply because I couldn’t take the competition. Her sex appeal was such that all a man had to do was look at her and see mattresses. In fact, all the men there were lined up trying to get her attention.  In line was Paul Rée, Nietzsche’s best friend and fellow philosopher.  Soon afterwards, Lou, Rée, and Nietzsche embarked upon an “intellectual” ménage à trois (and you can imagine the gossip that caused!)  But it didn’t take long for the rooster fights to begin. Nietzsche wanted Lou all for himself and asked her to marry him. When she said no, Nietzsche was crushed, said all women were bad, then locked himself up in his room at Piazza Barberini (a delightful little room with a view of Bernini’s Fontana del Tritone) and began writing Thus Spoke Zarathustra.

his room had a view

Ahh, men can’t understand how fatiguing it is to be a femme fatale who’s desired not for who she is but for what she represents—an object of desire.  And since you can only desire that which you don’t have, a desire is just a void yearning to be filled. Maybe because she was tired of being objectified, Lou married a linguistics professor. A celibate marriage, Lou was often restless thus took long walks. And on one such walk in Munich, she met Rainer Maria Rilke. Even though Lou was 15 years older, the young poet fell crazy in love with her. With schoolboy charm,  Rilke wrote Lou poems such as: “my love is like a coat wrapped around you to protect and warm you up” and “all the roses in the world bloom for you and by means of you”. Really, it got to be too much and when Lou felt Rilke was getting too clinging, the affair lost its poetry.

Poor Rilke, he started acted stranger and stranger. He hadn’t been just a toy boy for Lou. She worried about his mental health and looked towards psychoanalysis as a solution. But Rilke wasn’t interested and told Lou “Don’t take my devils away, because my angels may flee, too.”

the devils and angels left him

By this time Lou was fascinated by psychoanalysis and moved to Vienna for more. Here she met Freud and learned that all narcissists have mirrors but not all mirrors  have the same reflection.

when I look in the mirror, who do I see?   sometimes it’s her

A man lives in a man’s world thus is constantly surrounded by his own reflection.  The male mirror has room only for himself whereas the woman, living in a man’s world as well as a world of her own, sees herself and others.

Moral of the story:  women have bigger mirrors than men.

her mirror was bigger than his mirror

 

drawing

(from The Diary of Luz Corazzini, Cynthia Korzekwa ©)

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