For more than two decades, Isabella Ducrot, an artist who was born in Naples in 1931, has lived in an apartment on the top floor of the Palazzo Doria Pamphilj, in the center of Rome.
When I knocked on her door for the first time, this past spring, she greeted me with an emphatic pronouncement in English: "I must tell you immediately that I have never been so happy in my life!" It was a Tuesday evening in April, and I'd landed in Rome just a few hours earlier. Originally, Ducrot and I had arranged to meet for lunch the next day, but when she learned of my schedule she invited me to come over sooner, for a drink and a light dinner, noting in an e-mail that she "would be enchanted" to see me immediately. She opened the door to the apartment-where she lived with Vittorio (Vicky) Ducrot, her husband of fifty-eight years, until his death, in 2022 and I entered a spacious hallway densely hung with dark, dramatic Baroque paintings. Light shone on them from French doors that led to an expansive terrace. A side table held a vase of roses that were hovering on the edge between bloom and decay. Ducrot, who is tall and upright, grasped my hand more firmly than I would have expected, saying, "Please believe what I tell you.
I adored my husband, and I am half a person now that he is not with me. But I am happy-happy." Only in the past five years has Ducrot, who turned ninety-three in June, become internationally recognized for her art, which she didn't even begin making until she was in her fifties. When creating her works, she stands and uses a brush sometimes attached to a stick, sweeping loose arcs of ink or paint onto paper or fabric. She often later incorporates scraps of other papers or textiles.
Her painted collages usually depict ecstatic figures and stylized landscapes; arrays of ovals or checkered patterns are a recurring feature. Typically made in series, her works are light, energetic, and uninhibitedly beautiful.
Esta historia es de la edición July 29, 2024 de The New Yorker.
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Esta historia es de la edición July 29, 2024 de The New Yorker.
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