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Jennifer Griffiths, Sharon Hecker - Marisa Mori and the Futurists, Häftad

Häftad, Engelska, 2024

Marisa Mori and the Futurists

A Woman Artist in an Age of Fascism

Av Jennifer Griffiths, Sharon Hecker

Del i serien Visual Cultures and Italian Contexts

366 kr

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Beskrivning
This book introduces a compelling new personality to the modernist canon, Marisa Mori (1900-1985), who became the only female contributor to The Futurist Cookbook (1932) with her recipe for “Italian Breasts in the Sun.” Providing something more complex than a traditional biographical account, Griffiths presents a feminist critique of Mori’s art, converging on issues of gender, culture, and history to offer new critical perspectives on Italian modernism.If subsequently written out of modernist memory, Mori was once at the center of the Futurism movement in Italy; yet she worked outside the major European capitals and fluctuated between traditional figurative subjects and abstract experimentation. As a result, her in-between pictures can help to re-think the margins of modernism. By situating Mori’s most significant artworks in the critical context of interwar Fascism, and highlighting her artistic contributions before, during, and after her Futurist decade, Griffiths contributes to a growing body of knowledge on the women who participated in the Italian Futurist movement. In doing so, she explores a woman artist’s struggle for modernity among the Italian Futurists in an age of Fascism.
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Jennifer S. Griffiths completed a PhD in the History of Art at Bryn Mawr College, USA. She has been lecturing on Italian art in Italy for over a decade. Her articles on gender, art, and representation have appeared in the International Yearbook of Futurism Studies, Design and Culture, Woman’s Art Journal, Art Journal, Woman’s Studies Quarterly, Annali d’Italianistica, and elsewhere.

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This volume broadens current debates on Futurism by offering a ground-breaking study on a female artist actively involved in the destruction and dismantling of consolidated feminine stereotypes in Italian art and society. Maris Mori deserves recognition for the exuberant dynamism and sensitivity of her painting. Griffiths’ critical reading based on solid documentary evidence offers a more precise chronology of her life and works and, above all, of her conceptual elaboration of the ‘feminine’, located by her in the creative power of the maternal body. This volume will prove invaluable for all scholars of Futurism, modern art and gender studies.

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