Autumn/Winter 2022

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24 Restoration Conversations • Autumn / Winter 2022
Alinari Reception A celebratory send-off On September 27, 2022, Calliope Arts gathered with its partners and friends to celebrate the successful conclusion of the show FOTOGRAFE! Women photographers: Alinari Archives to Contemporary Perspectives. Villa Bardini, one of the exhibition’s venues – together with Forte di Belvedere – provided an evocative backdrop to the festivities, which brought together our growing network of like-minded individuals, committed to the art-and-culture scene in Florence and further afield. The show, curated by Emanuela Sesti and Walter Guadagnini, ran from June 18 to October 2, 2022. Presented and promoted by the Alinari Foundation for Photography and the Fondazione CR Firenze, in collaboration with the Municipality of Florence, it saw the participation of donors Calliope Arts. Through its grants programme, Calliope Arts funded the creation of two exhibition sections devoted to significant collections from the Alinari Archives: that of the sisters Wanda Wulz (Trieste 1903-1984) and Marion Wulz (Trieste 1905-1990) and that of Edith Arnaldi (Vienna 1884-Rome 1978). “We are especially interested in photography by women because it is an art form that has always been relatively accessible to women, unlike the more traditional fine arts,” says Calliope Arts President Margie MacKinnon, “The explosion of popularity of photography coincided with the expansion of women’s freedom to be active in public spheres and women’s demands for more independence and recognition. Thus, this exhibition’s creativeness brought dynamism, experimentation, and new techniques to the fore. We have been delighted to see these pioneers and contemporary women in the exhibition spotlight. It has been an enriching partnership, which we hope will continue in the future.” Autumn / Winter 2022 • Restoration Conversations 25
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
Page 20 and 21: Above, left: Somalia, 1951, Edith A
Page 22 and 23: Futurist women appear to have taken
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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
Page 64 and 65: Left : Galileo Galilei: the Torre d
Page 66 and 67: Above, top: Laurie Stras, centre, a
Page 68 and 69: Death of a Duchess Historical ficti
Page 70 and 71: Above: Casa Guidi, where the Browni
Page 72 and 73: 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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100 Restoration Conversations • A
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Autumn/Winter 2022

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