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Manzini's portrait among other greats at the restoration studio: Morante and Moravia.
Pincherle's painting in 'good company'
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A studio photograph bears witness to Pincherle's high-profile relationships. Some scholars say her lack of renown was her 'own fault'. "At the height of her creative development and public renown, Cesare Vivaldi referred to Pincherle as 'a painter who’s undeniably popular, especially in Florence, where she lives….[T]hough appreciated by critics and the public, she has not yet received accurate placement or complete assessment,' as her relevant contributions to the Roman School and Neo-Cubism have been ignored in manuals and volumes about Italian art from the second half of the 1900s. According to Vivaldi, 'Partial responsibility for this negligence must be taken by Pincherle herself. Certainly, she is an independent and proud artist, yet a poor self-admirer, an [art] squanderer. Many of her works— especially the early ones—have been lost, destroyed or repainted by Pincherle or her husband Martinelli. She loses documents and photographs [and is] disorderly and unconcerned about her own personal archive.'"
Quoted 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).
Quoted 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).