Text Size


Emilio Villa e qualche considerazione sul surrealismo

Davide Colombo

Although the most experimental charge of Emilio Villa’s writing – poet, translator from Semitic languages and art critic – become definite in the second postwar period, some features already emerged during the ’30s. By attending the milieu of «Il Frontespizio» magazine and the Florentine hermetism, Villa got many solicitations by French culture and literature, surrealism included. In 1939, Villa published in “Convivium” magazine the article Note sul surrealismo. Di Éluard e di alcune conseguenze, where he meditated on the surrealist automatism. Since the study of French literature and art become stronger and deeper during the ’50s, the names of Artaud, Bataille, Baudelaire, Breton, Duchamp, Lautréamont, and Rimbaud were essential reference points for Villa and inspired him to choose French language as his favored language for more advanced poems and art critic texts. This essay aims to analyze Villa’s knowledge and reuse of surrealist models, topics and procedures in order to develop a complex poetics that reaches maturity in the ’50s by poems 17 variazioni su temi proposti per una pura ideologia fonetica (1955) and Heurarium 1947-1961 (1961). Moreover, specific attention is paid to some Villa’s and surrealist common topics such as the origin, the dawn, the abyss and the orphic vision. Finally, the text focuses on Villa’s identification of surrealist echoes in some Italian and international artists.