Toni del Renzio - Enfant terrible of English Surrealism

[mar...@myrealbox.com]

http://news.independent.co.uk/people/obituaries/article2145119.ece

Toni del Renzio - Enfant terrible of English Surrealism

Published: 12 January 2007

Antonino Romanov del Renzio dei Rossi di Castellone e Venosa (Toni del
Renzio), painter, art historian and writer: born Tsarskoe Selo, Russia 15
April 1915; married 1943 Ithell Colquhoun (died 1988; marriage dissolved
1947), 1970 Doris Miller (two sons, two daughters); died Margate, Kent 7
January 2007.

Toni del Renzio was the last of the pre-Second World War members of the
Surrealist group in England. He was also the enfant terrible of the movement,
clashing furiously with its intellectual leader E.L.T. Mesens.

The ancestry of Antonino Romanov del Renzio dei Rossi di Castellone e Venosa
goes back to the Russian Tsars. Born in 1915 in Tsarskoe Selo, he was barely
two when the 1917 Russian Revolution forced his aristocratic family to flee
for their lives, first to Yalta and then to Italy. After a schooling split
between Switzerland and Britain, he went to universities in the United States
and Italy and graduated in philosophy and mathematics.

As a student he had mingled in artistic circles - the latter-day Futurists,
the Milan Abstractionists, the Movement for Rational Architecture. But
creativity came to an abrupt end in 1935 when Toni del Renzio, as he had
chosen to call himself, was conscripted into Mussolini's Tripolitan cavalry
and packed off to fight in Abyssinia. To his horror, he discovered that the
Abyssinians castrated their prisoners and he decided to abscond.

Disguised as a Bedouin Arab, he joined a camel caravan and fled across the
North African desert. From Morocco he reached Spain, just as the civil war was
breaking out. He took up arms against Franco and fought first in the Barcelona
streets and then on the Aragon front. War-weary, he set off again and reached
Paris in 1937.

There he worked as a designer and painter, mainly for theatres and ballet
companies, and became immersed in a vibrant European avant-garde, frequenting
Picasso and the Surrealists. He began painting in earnest, producing
delicately coloured theatrical illusions inspired by the stage and dance. But,
as Hitler was drawing closer to the French frontier in 1939, del Renzio took
flight across the Channel.

During the Second World War, he was enlisted in "reserved" work connected with
the Allies, including General Charles de Gaulle's Free French fighters, for
whom del Renzio designed and co- ordinated a travelling exhibition. As
everywhere else in Europe, the Surrealist movement in Britain was in tatters
and, by 1941, it had come to a complete standstill. Roland Penrose, its chief
founder, had become a captain in the Home Guard and camouflage designer of
dubious merit, S.W. Hayter, Gordon Onslow-Ford and Sam Haile had all left for
the United States, F.E. McWilliam had joined the Royal Air Force and E.L.T.
Mesens had closed the London Gallery, the nerve centre for Surrealism in
Britain, stopped publishing London Bulletin, the British Surrealist
mouthpiece, and gone to work for the BBC broadcasting Allied propaganda.

Del Renzio decided to take the bull by the horns and revive the ailing
movement. "War or no war, there was nothing being done about Surrealism.
Hitler had to be defeated, yes, but Surrealism also had to carry on." In March
1942 he published a single-issue magazine entitled Arson, "to provoke
authentic collective Surrealist activity", and within months he organised an
important Surrealist exhibition at the International Arts Centre in Bayswater.

Seen as the movement's driving force, del Renzio was approached by the editors
of New Road, John Bayliss and Alex Comfort, to compile a Surrealist anthology
in 1943. Once it was published, a further offer came from Cyril Connolly's
Horizon, for which del Renzio was to have edited a whole number. But all this
was too much for Mesens, who was enraged that his leadership had been usurped.
Unable to contain his anger, he scuppered the Horizon project and viciously
attacked del Renzio in the press.

By 1944, all the Surrealists, other than Ithell Colquhoun, to whom del Renzio
was by then married, had abandoned him. They even sabotaged a recitation of
his poetry at the International Arts Centre by showering the stage with rotten
eggs. Despite the hate conspiracy, no one could deny that, without del Renzio,
Surrealism would not have existed during the war.

Del Renzio resumed freelance design activities, as well taking up a teaching
post at Camberwell School of Arts and Crafts. He designed the magazine Polemic
and books for Pilot Press. He also did advertisement mock-ups which appeared
in Graphis, Penrose Annual and Design in Britain. In 1948 he was appointed art
director of the National Trade Press (NTP) . He also became involved with the
English Constructivist scene.

The 1951 Festival of Britain approached him and drew on his "graphic" talents
and he was asked to design a series of panels on the evolution of domestic
kitchen machinery, a boom area at the time. But del Renzio yearned for more
involvement in the finer arts and resigned from the NTP to go to Italy to
study the latest trends of the Modern movement in architecture. On his return
he joined the Institute of Contemporary Arts, then in Dover Street, as
director's assistant.

He was in the perfect milieu for an artist: in 1952, together with the artists
Richard Hamilton, Nigel Henderson, John McHale, Eduardo Paolozzi and William
Turnbull, and the architects and critics Reyner Banham and Lawrence Alloway,
he founded the experimental Independent Group, an "art of discussion, design
and display". Its celebrated achievement was the exhibition "This is
Tomorrow", which was opened in 1956 at the Whitechapel Gallery by a 12ft-tall
Hollywood celebrity, Robbie the Robot, who was then starring in MGM's
Forbidden Planet. "This is Tomorrow" emerged as a turning point of British
art, with its fusion of popular culture and orthodox abstract art, "high" and
"low" art, ideology and technology.

Then, an approach from Newnes and Pearson's women's magazine group whisked del
Renzio into the world of fashion publishing. In 1957 he was special
correspondent to The Times in France and Italy, but in 1958 joined Harper's
Bazaar as art director, acting too as design consultant to Encounter and
French, German and Italian magazines, as well as contributing to Lilliput and
Flair. In 1961 he was appointed designer at Topic, but within weeks was
transferred to Paris as its correspondent. From there he also contributed to
Apollo and undertook research at an experimental French television centre,
working on aesthetics and the theory of games. A new challenge, transforming
the magazine Novità into Vogue Italiana, took him to Milan, where he also
worked as a journalist for Time-Life, writing essays on Italian art,
architecture, design and film, as well as carrying out extensive research for
books on Leonardo and Marcel Duchamp.

By 1965 he worked increasingly in film and television. Besides designing
titles and credits and making advertisements, he wrote scripts and dialogue,
directed films and documentaries and even acted, notably in spaghetti
westerns.

In 1967 and 1968 del Renzio visited California to lecture on art and media at
Berkeley and Santa Cruz. There he witnessed the San Francisco hippie explosion
at first hand, recounting his experiences in his 1969 book The Flower
Children. Back in the UK, he continued to lecture at art colleges, including
the Chelsea School of Art, the Courtauld Institute and Bath Academy of Art at
Corsham, where he met his Estonian wife-to-be Doris Miller. From 1975 to 1980,
he was head of the Art History department at Canterbury College of Art. In
1981, he took the post of Director of the British Studies Centre of the
Institute for American Universities, his final administrative role. From then
on, as well as fathering quads at the age of 70, he concentrated on his
painting and collage, becoming increasingly innovative as the years passed.

At the same time, he restarted to publish Surrealist manifestos and polemical
texts, the last of which, Alter Ego and Doppelgänger, was coming hot off the
presses as he lay on his deathbed.

Silvano Levy