Nori De' Nobili - Noblewoman with Flowers

Portraiture is one of the most widespread artistic expressions, especially in painting, but also in sculpture, throughout the ages. Portraiture is, first and foremost, a description of the depicted subject, an attempt to convey their physiognomy and individual characteristics truthfully and naturally. With the progressive evolution of artistic research, the physiognomic description of the subject has also been accompanied by a psychological one. Therefore, over the centuries, portraiture has also become a means of introspective investigation of the subject, their character, and their state of mind. The processes of abstraction brought about by contemporary art have contributed to this type of investigation. The artist Nori De' Nobili, in her pictorial production, has focused primarily on the genre of female portraiture and self-portraiture.

The pictorial style of artist Nori De' Nobili, in most of her female subjects, shows strong affinities with German New Objectivity. Her figures, in fact, present the same expressionistic deformations, but in a formally lucid and rational guise, like certain characters by Otto Dix. However, in this 1924 work, the painter seems to fully embrace the "return to order" movement that characterized much of Italian art at the time, and in particular the work of the painters who belonged to the "Novecento" group. This meant drawing on Italian formal and figurative tradition, toning down the experimentalism of the avant-garde. Thus, as in Casorati and Donghi, we note a notable exaltation of the subject's plasticity in an atmosphere of suspended rationality that leads us to speak of "magical realism." Compared to the aforementioned models, Nori De' Nobili's pictorial style is slightly more textured and dynamic in its color impasto.

Eleonora De' Nobili Augusti, known as Nori De' Nobili, was an Italian painter and poet born in Pesaro in 1902 and died in Modena in 1968. She became interested in art from a young age, first studying under the painter Giusto Cespi in Fano, then moving with her family first to Rome and then to Florence. In the Tuscan capital, she frequented the studio of the Macchiaioli painter Ludovico Tommasi, who gave her considerable expressive maturity. Due to her troubled relationship with the critic Aniceto Del Massa and the sexist prejudices of the time, she began to experience various symptoms of neurosis, which led her to attempt suicide. After the death of her brother Alberto, she suffered a full-blown mental breakdown that led to her being committed to the Modena mental asylum. There, she lived the second half of her life in solitude, devoting herself almost exclusively to painting.

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