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Futurist women appear to have taken this contempt, in stride, and perhaps interpreted it as a contempt for the limited nature of traditional female roles. In fact, they shared his disdain for both the Angel of the Hearth and Femme Fatale. “Although Arnaldi was a resident of Rome, she presumably had contact with her female counterparts living in both Rome and Florence… Mina Loy, Irma Valeria, Maria Ginanni and Fulvia Giuliani, and their debate on the role of the New Woman, was an important one, but we have to remember, they did not all agree on what ‘la nuova donna’ meant, or how the change should play out exactly. They simply shared the need for a new image.” Edith Arnaldi, you might say, was a woman of two names and many souls – at least three – as the title of her novel A Woman with Three Souls appears to suggest. Authored in 1918, her novel is an early example of feminist science fiction, and considered a tit-for-tat reaction to Marinetti’s only successful book, How to Seduce Women, printed in 1916. According to Arnaldi, she did not consider herself a feminist but as ‘–ist’, hence, she says, ‘the first part of the word has not yet been found’”. Dr Lisa Hanstein, for one, is still searching for the word… or words… that will make a perfect fit. RC For more on the Digital Archive on Futurism in Florence at the Kunsthistorisches Institut in Florenz – Max-Planck-Institut: http:// futurismus.khi.fi.it/index.php?id=100&L=1 Above, left: Geometric conflagration, 1917, L’Italia futurista, Edith Arnaldi (von Haynau or Rosa Rosà), Kunsthistorisches Institut in Florenz. Above, right: Dancer, 1921, Edith Arnaldi (von Haynau or Rosa Rosà), Kunsthistorisches Institut in Florenz. Above: Display case featuring Edith Arnaldi’s gelatin silver prints with notes (1936) Alinari Archives, Florence, (Image: Olga Makarowa). 22 Restoration Conversations • Autumn / Winter 2022
D r. Lisa Hanstein received her PhD at the Goethe University Frankfurt in 2015. She is Academic Assistant in the library at the Kunsthistorisches Institut in Florenz – Max-Planck-Institut. She co-organised ‘Mapping Futurism’, the conference proceedings and digital projects on Futurism. Hanstein is the author of several books and essays, including the in-English publications: Edyth von Haynau, Edyth Arnaldi and Rosa Rosà: One Woman, Many Souls (2021) and Edyth von Haynau: A Viennese Aristocrat in the Futurist Circles of the 1910s (2015). She specialises in the impact of psychology, spiritism and science on Italian Futurist art and has published articles on the topic, as well as on Edith Arnaldi and on the KHI’s Futurism Archive. Her work on Edith Arnaldi, in the Alinari Archives with co-curator Emanuela Sesti, was paramount to the Fotografe! exhibition (See page 7). Top: The ‘Edith Arnaldi’ section at ‘Fotografe!’ at Forte di Belvedere, featuring Arnaldi’s Ciociaria series, (1935), (Image: Olga Makarowa). Above: Co-curator Emanuela Sesti oversees exhibition set-up, June 2022. Autumn / Winter 2022 • Restoration Conversations 23
Page 1 and 2: Restoration Conversations ISSUE 2,
Page 3: From the Editor As we conclude prep
Page 6 and 7: Above: Jazz band, Wanda Wulz, 1931,
Page 8 and 9: Above: ‘Fotografe!’ exhibition
Page 10 and 11: MADAME D’ORA (1881-1963) was a Vi
Page 12 and 13: Above: Marion Wulz in the dress by
Page 14 and 15: Above: Portrait of Julia Margaret C
Page 16 and 17: Above: Vivien and Merlin (sitters A
Page 18 and 19: Edith Arnaldi A ‘woman of the fut
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Page 30 and 31: Enjoying the show: This page, left:
Page 36 and 37: Below: Donor Wayne McArdle shares f
Page 40 and 41: Artemisia UpClose Many ways to see
Page 42 and 43: IN PROGRESS AT THE MUSEUM OCTOBER 2
Page 46 and 47: A veiled issue The hows and whys be
Page 48 and 49: Left: Portrait of Robert Browning,
Page 50 and 51: Below: Detail, The Last Judgment, S
Page 52 and 53: PLANS AND PULLEYS Elizabeth Wicks,
Page 58 and 59: Above: Model of the facade of the S
Page 60 and 61: Left: Biffoli-Sostegni Manuscript.
Page 62 and 63: Over the course of 30 years, Musica
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lockdown, when many of us experienc
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‘More Bill’, many Kennedys A sp
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stand back, you can see it’s a mo
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Left: Paula Modersohn-Becker, Self-
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Marianne Werefkin, Twins, 1909. Tem
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Marianne Werefkin, The Contrasts, 1
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Above, left: Gabriele Münter, Self
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Left: Director Elena Baistrocchi, (
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Above and right: Some of the beauti
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In phrase three, an artisan becomes
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Grazie Mille As always, we are grat
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