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Carlo Levi and Anna Magnani
Fondazione Carlo Levi, Rome |
In my ongoing quest to learn more about 20th century artist and writer, Carlo Levi, I recently discovered one of his most celebrated masterpieces, Ritratto di Anna Magnani (Portrait of Anna Magnani), an oil on canvas, which was created in 1954.
His close friendship with Anna Magnani was news to me but what I found most fascinating about this portrait is the presence of Levi’s post-1935 style, his new pictorial approach referred to by art critics as the "wavy" brushstroke. He developed this style during his political exile in Basilicata in 1935 when he spent much of his time there creating stunning portraits of the contadini (peasants) he befriended, who served as the inspiration behind his infamous novel, Christ Stopped at Eboli, which was later made into a movie by Francesco Rosi. It fascinates me because it's further proof how much of an impact that one year of exile in Basilicata had on him. Click here to watch a clip from my documentary "Return to Lucania" in which a mayor from the region talks about Levi's influence on the region.
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Carlo Levi. Portrait of Anna Magnani. 1954.
Fondazione Ragghianti
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There is so much that I love about this painting. In my opinion, I don't think that it fits perfectly into any particular style of art. Perhaps there's a bit of idealization and naturalism with some abstract qualities, which perfectly suits Magnani because she wasn't able to be boxed into a category either. I also love the Roman landscape behind her. She was and still is the epitome of Roman, so it’s fitting that her background is the Eternal City. Quoted as saying, “Please don’t retouch my wrinkles. It took me so long to earn them,” she was a strong, unapologetic woman and this portrait captures that embodiment by making her image stand out so robustly from the background. One of Magnani’s most famous American films is Sidney Lumet’s 1960 “The Fugitive Kind,” which was adapted from Tennessee Williams’ 1957 play “Orpheus Descending.” She stars opposite Marlon Brando and gives an epic performance. Although the film was made six years after the portrait was done, it reminds me of her character, Lady Torrance, and her fiery personality. Click here to watch a clip on YouTube.
Levi thoroughly captured her intensity and spirit in this work. If you don’t know anything about her, you can look into her eyes and determine that she’s deep, not much into small talk, passionate and loves very hard. Despite a successful career, she had a tough personal life and died from pancreatic cancer at the age of 65. If you see her last film, “1870," which was released on Italian television on the day of her death in 1973, you will see how radiant and full of life she was right up until the very end.
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Magnani beside her portrait, Archivio Luce
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The portrait was recently on display at the Fondazione Ragghianti in Lucca, Italy as part of the exhibition, “Un’amicizia tra pittura, politica e letteratura,” dedicated to Levi and his friendships. The exhibition touched on Levi’s interest in cinema and his work as a screenwriter. He created a poster for the 1961 film “Accattone” by Pier Paolo Pasolini, who also spent time in Lucania. Pasolini shot his 1964 “The Gospel According to St. Matthew" there, so I can’t help but wonder if the two shared stories from their time spent in the region. Click here to listen to a rare interview of Pasolini from the set of the film in Basilicata.The younger generations of Italians have a great appreciation for the legacies of the intellectuals and cultural giants who came before them, and these two icons, Carlo Levi and Anna Magnani are among the greats.
Four of the aforementioned films are available on Amazon and Criterion Channel. Click on the titles to stream them.
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