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Leonetta Pieraccini's Portrait of Emilio Cecchi, 1919
A husband’s portrait, Leonetta Pieraccini Cecchi
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A canvas, a window on marital ties. Art scholar Chiara Toti provides insight on their relationship in the catalog Artiste. Firenze: 1900-1950. “I suggest reading the admirable passage by Leonetta, where the artist—who is about to give birth—rebels against her husband’s extra-marital affairs, refusing the fate of being reduced to ‘a woman defined by legal terms’, i.e. a wife and mother, ‘because before anything else, I was and am a woman and, I was and am a lover’. Dated 29 October 1912, the piece had probably been ripped up by Leonetta, but saved by her husband. She would eventually write about it in her Notebooks (Leonetta Pieraccini Cecchi 2015, pp. 39-43).