NIKI BERLINGUER: THE LADY OF TAPESTRIES
Until April 6, 2025, the Casina delle Civette in Villa Torlonia (Via Nomentana 70), Rome, is hosting the exhibition “Niki Berlinguer: The Lady of Tapestries”, providing a comprehensive overview of the tapestry production by the renowned weaver and artist. For the first time, this museum space is featuring an exhibition of 20th-century tapestries in dialogue with the Art Nouveau architecture of the stained glass and interiors of this Roman gem.
The exhibition, promoted by Roma Capitale, Department of Culture – Capitoline Superintendence for Cultural Heritage, and curated by Claudio Crescentini, is organized and conceived by Il Cigno Arte, with museum services provided by Zètema Progetto Cultura.
The exhibition catalog, published by Il Cigno Arte, includes essays by curator Claudio Crescentini and Maria Taboga, head of the Tapestry Restoration Laboratory at the Quirinal Palace and a scholar of Italian textile craftsmanship from the 19th and 20th centuries.
Known as “the great Italian lady of tapestries”, Niki Berlinguer—born Corinna Adelaide Augusta Fidelia (1905–1994) and adopting her artistic name after her marriage to Mario Berlinguer in 1950—collaborated with key figures of post-war Italian art movements, including Umberto Mastroianni, Achille Perilli, Renato Guttuso, Piero Dorazio, Emilio Vedova, and Corrado Cagli. Through her work, Niki Berlinguer reinterpreted masterpieces by Hans Hartung, Paul Klee, Vincent van Gogh, and others, infusing textile art with new linguistic and chromatic dimensions, blending tradition and innovation. She was a pioneer in translating painting into textile narratives, combining the ancient petit point technique with contemporary influences.
The exhibition features some of the artist’s most intriguing tapestries, primarily from private collections. Many works are inspired by notable artists, such as “Aranceto, after Renato Guttuso”, “Paesaggio, after Carlo Levi”, “Hammamet, after Paul Klee”, “Dai Cinque Monti, after Emilio Vedova”, and “Gotica, after Santomaso”. However, there are also tapestries conceived entirely by Niki herself, such as “Uccello di fuoco” (1982) and “Primavera” (1983). Most of these works are relatively unknown and have been out of public view for a long time.
To mark the occasion, the Capitoline Superintendence, as part of its initiatives to promote its collections, is showcasing two of the artist’s works from the Museo di Roma at Palazzo Braschi and the art collection of the Superintendence, housed in the deposits of MACRO – Museum of Contemporary Art in Rome.
The exhibition is further enriched by the artist’s final video interview from January 1994, directed by Maura Cosenza and filmed by Gianni De Santis, presented in collaboration with the International Antinoo Center for Art – Marguerite Yourcenar Documentation Center.
Though inspired by great masters, Berlinguer’s tapestries are never mere copies but true reinterpretations shaped by her creativity and worldview. Her tapestries represent a unique cultural and historical expression, reflecting the particularly creative environment of post-war Rome. Niki was a witness to the Italian art of her time, narrating it with needle and thread—simple tools capable of producing works rooted in ancient knowledge.This exhibition is an extraordinary opportunity to rediscover the extensive oeuvre of Niki Berlinguer, scattered across numerous solo and group exhibitions over more than forty years, from 1952 until her death in 1994.
Niki Berlinguer consistently upheld her creative autonomy as a weaver, possessing a distinctive individuality and a unique graphic alphabet. Affectionately called “Ninna” by her family, Niki played a significant role in the lives of the children of Mario Berlinguer’s two sons after marrying Mario in 1950. Bianca Berlinguer, Enrico’s eldest daughter, together with her siblings and cousins, grew up surrounded by the unique atmosphere created by their “adoptive” grandmother, who hosted them for Sunday lunches while working on her tapestries.
Niki stood out as a remarkably modern figure for her time, with a “free” and emancipated mindset that defied conventional female roles of her era. She carved out her own audience and personal space, engaging with renowned artists and finding joy and fulfillment in her art. Her determination to realize her creative vision allowed her to express herself through her textile panels.
Lorenzo Zichichi of Il Cigno Arte emphasized the beauty of bringing back to light the vibrant creativity of post-war Rome through this exhibition.
The exhibition is open Tuesday to Sunday, from 9:00 AM to 7:00 PM.
