Her name is linked to the 1950s and 1960s, the " Dolce Vita ," of which she was a symbol, choosing Rome , and Via Margutta in particular, as the stage for her personal and artistic adventures. She threw herself into the whirlwind of Roman life and paid the price, becoming embroiled in legal disputes.
Novella Parigini with Giò Stajano and one of his models in the Fontana della Barcaccia in Rome at the end of the 1950s
She established herself in the world of Parisian existentialism ; characteristic features of her art include cat-like eyes in both male and female figures, pronounced cheekbones, plump and full lips, and large breasts—the prototype of today's woman—and the repetition of subjects that anticipated the processes of massification that only a few years later would bring back artists like Andy Warhol . Raised in the cult of beauty and hedonism inherited from her aristocratic Sienese family, her experience blended with French existentialism, feminism , and surrealism , ultimately resulting in a pioneering and intellectual form of Pop Art . A snob and aristocrat, immersed in Parisian intellectual circles, in the immediate post-war period she appeared unscrupulously strolling through the streets of Paris in "heretical" attire, becoming a protagonist of high society life.
Her existentialism, however, diverges from that of her friend Jean-Paul Sartre when it takes on political overtones; for Novella Parigini, being an existentialist meant being free from any political or sentimental tendencies or ties. Hers was a freedom that moved only toward the emancipation of man from the authority of conceptual forms, assumed as absolute, that overwhelm thought, amputating it of its infinite possibilities. Only from this awareness, she says, can that total freedom emerge, which then takes the form of choice and responsibility. Her transgressions, her excesses, were a way to experiment with the new possibilities offered by free thought, not a subversive or revolutionary attitude. When asked what she meant by art, she replied:
«An explanation of thought, not of feeling,... of thought»»
As for surrealism in Novella Parigini, this takes on different characteristics from those theorized by André Breton , it had nothing to do with the unconscious and the dreamlike, it was only an expressive form to freely express one's thoughts, a choice however influenced by her friendship with Salvador Dalí , who was also her teacher.
Novella Parigini exhibits her paintings on the Spanish Steps (1986)
She has exhibited in many cities around the world, including China ; the French post office issued a stamp reproducing one of her paintings and numerous paintings are exhibited in various churches [1] (see also K. Puccini, 1985 and E.Echeoni, 1999). She was committed to the defence of Via Margutta, threatened by building speculation that wanted to transform the art studios into mini-apartments, and the "One Hundred Painters" exhibition that she had wanted since 1955 and in which she participated together with established and, above all, unknown artists, to offer them a chance. From the beginning of the seventies until her death she began an intense pictorial partnership with Elvino Echeoni who now takes care of the foundation. In 1993 she died [1] and is buried in the Verano Cemetery[2] .
After his death, some letters from Gabriele D'Annunzio to Novella's mother, Emilia, were found (including one of the first drafts of La pioggia nel pineto ), in which it is "the prophet" himself who gives Novella her name and provides instructions on how an "infallible" talisman he gave her works.
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Her name is linked to the 1950s and 1960s, the " Dolce Vita ," of which she was a symbol, choosing Rome , and Via Margutta in particular, as the stage for her personal and artistic adventures. She threw herself into the whirlwind of Roman life and paid the price, becoming embroiled in legal disputes.
Novella Parigini with Giò Stajano and one of his models in the Fontana della Barcaccia in Rome at the end of the 1950s
She established herself in the world of Parisian existentialism ; characteristic features of her art include cat-like eyes in both male and female figures, pronounced cheekbones, plump and full lips, and large breasts—the prototype of today's woman—and the repetition of subjects that anticipated the processes of massification that only a few years later would bring back artists like Andy Warhol . Raised in the cult of beauty and hedonism inherited from her aristocratic Sienese family, her experience blended with French existentialism, feminism , and surrealism , ultimately resulting in a pioneering and intellectual form of Pop Art . A snob and aristocrat, immersed in Parisian intellectual circles, in the immediate post-war period she appeared unscrupulously strolling through the streets of Paris in "heretical" attire, becoming a protagonist of high society life.
Her existentialism, however, diverges from that of her friend Jean-Paul Sartre when it takes on political overtones; for Novella Parigini, being an existentialist meant being free from any political or sentimental tendencies or ties. Hers was a freedom that moved only toward the emancipation of man from the authority of conceptual forms, assumed as absolute, that overwhelm thought, amputating it of its infinite possibilities. Only from this awareness, she says, can that total freedom emerge, which then takes the form of choice and responsibility. Her transgressions, her excesses, were a way to experiment with the new possibilities offered by free thought, not a subversive or revolutionary attitude. When asked what she meant by art, she replied:
«An explanation of thought, not of feeling,... of thought»»
As for surrealism in Novella Parigini, this takes on different characteristics from those theorized by André Breton , it had nothing to do with the unconscious and the dreamlike, it was only an expressive form to freely express one's thoughts, a choice however influenced by her friendship with Salvador Dalí , who was also her teacher.
Novella Parigini exhibits her paintings on the Spanish Steps (1986)
She has exhibited in many cities around the world, including China ; the French post office issued a stamp reproducing one of her paintings and numerous paintings are exhibited in various churches [1] (see also K. Puccini, 1985 and E.Echeoni, 1999). She was committed to the defence of Via Margutta, threatened by building speculation that wanted to transform the art studios into mini-apartments, and the "One Hundred Painters" exhibition that she had wanted since 1955 and in which she participated together with established and, above all, unknown artists, to offer them a chance. From the beginning of the seventies until her death she began an intense pictorial partnership with Elvino Echeoni who now takes care of the foundation. In 1993 she died [1] and is buried in the Verano Cemetery[2] .
After his death, some letters from Gabriele D'Annunzio to Novella's mother, Emilia, were found (including one of the first drafts of La pioggia nel pineto ), in which it is "the prophet" himself who gives Novella her name and provides instructions on how an "infallible" talisman he gave her works.
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