The recent discover of five hundred inedited letters written by the painter Aldo Carpi (1886-1973) to his young student, Federica Mylius (1912-1985), since the end of June 1941 until the begin of January ’44, had permitted to reconstruct a production of the painter, still now ignored, violently interrupted at the end of January 1944 for his deportation at Mauthausen. A personal interpretation of portrait that he sporadically had experimented already during the 1930s, found his final form in a series of paintings and drawings with Fede Mylius’s portraits. The letters registered their commune work at Brera’s Academy in the late afternoon when the painter can focus to his personal expression in the ideal direction of his unique text, Le divagazioni del Sileno (The Sileno’s divagation), written with the help of the young student and model. By means of the letters it was possible to rediscovered a series of Carpi’s paintings until now never identified, among which the Figura in bianco (Figure in white) exposed at the XXIII Venice Biennale: a declamation of peace in a National Exhibition totally devote to the war.
Keywords: Aldo Carpi; Fede Mylius; Second Wold War; XXIII Venice Biennale (1942).