Root – Eva Fischer

Eva a Via Margutta
Eva e Alberto Baumann
Papa Karol Wojtyla e Eva
Rossano Brazzi, Eva e Alberto Baumann
Elio Toaff
Eva e Papa Karol Wojtyla
Eva, Alberto Sordi, Giovanna Ralli
Eva, Salvador Dalì e Amerigo Tot
Eva con Alberto Sordi e Giovanna Ralli
Eva con Fabio Failla
Eva con GIancarlo Vigorelli e Leonida Repaci
Eva con Giorgio De Chirico
Alberto Baumann, Gregory Peck ed Eva
Eva con Guido Carli
Harold Gomberg, Eva e Alberto Baumann
Eva con Silvio Noto
Eva con Leonida Repaci
Eva con Nino Franchina
Shelley Winters ed Eva
Eva con Ugo Attardi
Elio Toaff ed Eva
Eva col pittore Brancaccio e Signora e Alberto Baumann
Eva con Ennio Morricone e Alan Davìd Baumann
Alan Davìd Baumann, Eva con Arnoldo Ciarrocchi e Signora
Eva con Annibale Vitellozzi e Corrado Cagli
Eva con Alfonso Gatto
Eva con Carlo Levi
Eva con Irene e Aldo Garosci
Eva con Cesare Zavattini, la signora Pertini e Corrado Alvaro
Eva con Franco Ferrarotti
Eva con Franco Gentilini
Eva con Maria Luisa Spaziani
Alan Davìd Baumann, Eva e Mario Russo
Ziva Modiano, Alberto Baumann, Eva e Matta
Michel Simon ed Eva
Eva e Renzo Vespignani
Eva con Luca Zingaretti
Jacopo Recupero ed Eva
Eva con Emilio Greco e Anna Bolletta

Throughout my life, I have followed Eva’s painting exhibitions, first as a son and then as a curator. They have passed on and taught me the ability to savor colors, whether sweet or sour, but always charged with that emotional passion that, according to Eva, is the core of artistic creation.

Torment and love are combined with creativity, imagination, and professionalism to create and provide ever-new and multiple emotions. An insatiable give and take.

The works on this site may seem numerous, but I can imagine the many thoughts, feelings, and emotions experienced by a person who lived through much of the 20th century and some years of the 21st.

I speak of Eva in the present tense because I am fortunate to be able to tell the story of a woman and a painter, still present among us thanks to her works. After all, she always described her creations as offspring, and I find myself wrapped up in a very large family.

Art, however, would not be complete if it only concerned artists: it needs many admirers, connoisseurs, and the curious…

Eva has found many who have long strived to define her and her painting in so many ways.

The “old” but ever-new fans, the simply curious, or the characteristic art lovers, are each of you who are reading and browsing this site.

Yours is a valuable contribution to ensuring that Eva and the entire culture, especially in these long periods, do not vanish, swallowed up by our past, but continue to lend us strength and make us think and enjoy life.

To everyone, without exception, thank you!

Alan David

Relationship with the artists of his time

Having arrived in Italy in 1941, Eva Fischer settled in Rome in 1946, a city she chose to rebuild her life and to which she would always return.

She began exhibiting on Via Margutta and met personalities who would leave their mark on history. She befriended numerous artists and intellectuals; among her colleagues, she enjoyed the esteem and support of Renato Guttuso, who lived on Via Margutta, and Mario Mafai, Corrado Cagli and Amerigo Tot, Luigi Bartolini and Mino Maccari, as well as Arnoldo Ciarrocchi and Emilio Greco.

She met Gino Severini and Franco Gentilini, and frequented Massimo Campigli, Pericle Fazzini, Carlo Levi, Giuseppe Capogrossi, Marcello Avenali, and Alfonso Gatto. She developed a deep bond with Mirko Basaldella and Giorgio De Chirico, whom she remembers as a man of extreme kindness and with whom she appears in several photographs.

Eva rarely left the Eternal City, except when she stayed in Paris, in Saint-Germain-des-Près, to continue her Roman conversations with Marc Chagall, with whom she shared Jewish roots and of whom, already a great admirer, she became friends. She was hosted in the City of Light by Ossip Zadkine, who appreciated her work; it was the period of her Roman landscapes.

Eva rarely leaves the Eternal City, such as when she stayed in Paris, in Saint-Germain-des-Près, to continue her Roman conversations with Marc Chagall, with whom she shared Jewish origins and of whom, already a great admirer, she became friends. She was hosted in the City of Light by Ossip Zadkine, who appreciated her work; it was the period of her Roman landscapes.

In Madrid, she met Salvador Dalí and Pablo Picasso; the latter, whom she met at Luchino Visconti’s house, kept an engraving, a reminder of a sincere friendship. Dalí was enamored with Fischer’s works depicting markets, while Picasso encouraged her to continue with her boats and Mediterranean architecture. In the early 1960s, her paintings, which had become popular in the Iberian Peninsula, were at the center of debates in Joana Mordò’s studio among Spanish artists, still struggling against Francoism.