Born in Livorno, Vittorio Matteo Corcos was named for Vittorio Emanuele II, ruler of the newly united Italy. Growing up in an Italian Jewish community that was never constrained to live in a ghetto, Corcos received a grant to leave his studies in Florence for Naples. Financed by King Umberto I, who acquired his L’arabo in preghiera (The Praying Arab, 1880), Corcos moved to Paris and befriended Giuseppe De Nittis, whose salons hosted Manet, Degas, and the art dealer Adolphe Goupil. In 1886, Corcos returned to Florence to serve in the grenadiers, converted to Catholicism, and married. He painted what was considered a scandalous series of portraits of independent, confident women, especially his 1896 Sogni (Dreams), featuring a defiant Elena Vecchi, with whom he was romantically involved. He also painted many society figures, notably Kaiser Wilhelm II (1904), Empress Amélie of Orléans (1905), and Benito Mussolini (1928).
He then returned to his city, filled with bitterness, humiliated, oppressed, and weak. He found his wife Ḥaya—who had been a picture of robust health and womanly valor when he had set out on his…
In The Dead Class, the most famous of Kantor’s theater pieces from the 1970s, the main characters of the play are elderly men (who are to be understood as being dead), who return to their school desks…
That night, I was a clockwork doll
and I whirled around, this way and that,
and I fell on my face and shattered to bits
and they tried to fix me with all their skill.
Then I was a proper doll once…