FINI (Leonor) (1908–1996). French surrealist painter, lithog - Lot 164

FINI (Leonor) (1908–1996). French surrealist painter, lithographer, theater set designer, and writer of Italian origin. Very long handwritten letter signed “Leonor” to “Dear Pierre” [Pierre Besse]. No place, no date [27th]. 12 folio-sized pages, in green ink. A REMARKABLE AND EXTENSIVE LETTER ON ARTISTIC CREATION, JACQUES AUDIBERTI, STANISLAO LEPRI, AND THE PSYCHOLOGY OF HUMAN BEINGS. Leonor Fini responds at length to a work her correspondent has just sent her, which she describes as an “anthology,” finding it sympathetic, generous, and touching, while strongly disputing some of its analyses. In particular, she objects to the idea that human nature is immutable: “You can never change anyone—it’s that same old laziness […] I am absolutely certain that people can change—I have witnessed some truly remarkable transformations.” She then engages in a lengthy psychological analysis of her loved ones, particularly “Bob” and her partner, the painter Stanislao Lepri, contrasting their characters and attitudes. She vigorously defends their personalities and sensibilities, rejecting her correspondent’s oversimplified interpretations. Much of her discussion concerns Jacques Audiberti, whose creative power and profound humanity she highlights: But it’s madness to compare Audiberti—a truly great creator and total artist—to Bob’s writings […] you must not confuse Audiberti’s great tolerance—which is dictated by his poetry that embraces the ALL and is its very essence—with profound warmth. She also mentions Jean Dubuffet, citing his views on painting and technique in a reflection on the sincerity of the artistic process: Dubuffet explained that he refuses to do so because he has too much respect for “work done well,” for true technique. The letter thus develops a genuine reflection on the creative personality and the relationships between sensitivity, instinct, and artistic expression. Leonor Fini notably distinguishes the authentic artist from one who is content merely to adopt the outward appearances of artistry, and repeatedly returns to the fundamental differences between Audiberti, Bob, and Stanislao. She continues her reflection by emphasizing how diverse the expression of feelings can be from one individual to another: The order and aesthetics of the Audiberti works? They may, without him realizing it, have a beneficial effect—but it’s also possible that they are false. I don’t know him in his intimate, everyday life. In the final pages, she reflects on the personalities of those close to her, describing their qualities, their weaknesses, their emotional reactions, and the difficulty of truly understanding them. She insists on the need to view people in all their complexity, concluding that her correspondent made a mistake by failing to understand them. Exceptional in its scope and the freedom of its expression, this letter offers a particularly vivid account of Leonor Fini’s intellectual and emotional relationships, her artistic and literary circle, and her views on creativity. Her numerous reflections on Jacques Audiberti, Stanislao Lepri, Jean Dubuffet, and the psychology of artists lend it genuine documentary value. A few creases and wrinkles.

Estimation:€250

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