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'Mysterious' supplies at the restoration studio.
Making color and saving it
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A 'snap' of the restoration studio's shelves fills even the veteran visitor with a sense of awe. The materials Rossella Lari to carry out the various phases of a restoration comprise an impressive list. Interestingly, the more recent the work, the harder it is to find the right materials to use. Why because modern artists have a very individualist sense of style and medium. There may be no other examples around! Having a color-based mentality is essential when facing Pincherle's portraits. An except by art historian Lucia Manini underlines the importance of color in Pincherle's painting: "When asked about post-war artistic movements, Adriana would respond: 'My painting has always been figurative, not realist. In this sense, I’ve felt much affinity for the Informal movement, which essentially took my passion for color to the extreme.' Many critics mention the Informal movement as well as Monet’s later years, in an attempt to contextualize the expressive strength of Pincherle’s rich chromatic temperament, which adopted more intensely synchronized shades with the advent of the 1970s."
Text from L. Maninni's essay 'Works by Adriana Pincherle in Florentine Collections' in Pincherle and Pacini: Twentieth-century women painters in Florence (The Florentine Press, 2016).
Text from L. Maninni's essay 'Works by Adriana Pincherle in Florentine Collections' in Pincherle and Pacini: Twentieth-century women painters in Florence (The Florentine Press, 2016).