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The American Surrealist painter Kay Sage’s friendship with the poet Ezra Pound in Rapallo, Italy, resulted in at least two Vorticist paintings in 1935–36. Past mentions of the connection between the two have failed to properly account for Pound’s Fascism during those years. Sage’s first husband, Prince Ranieri di San Faustino, was Pound’s principal supervisor at Radio Rome and oversaw the poet’s infamous pro-Fascist broadcasts during World War II. Calling attention to the original architectural dimensions of the Vorticist project and Pound’s efforts to revive the movement in Fascist Italy, I consider Sage’s work in light of Pound’s advocacy for a Fascist modernism, such as his efforts to have the regime’s headquarters in Rapallo built after unrealized designs by the Futurist architect Antonio Sant’Elia. After her falling-out with Pound because of his anti-Semitism, Sage relocated to Paris and became acquainted with the Surrealists, whose critiques of modern architecture and planning, such as those lodged by the painter Roberto Matta, a formally trained architect who interned in Le Corbusier’s Paris office, began to inform her work. Striking parallels exist between Sage’s mature paintings and Fascist Italy’s modernism, leading to the conclusion that her Surrealism was infected by politics and reflects on the dual rational and irrational aspects of Fascism and advanced art’s compatibility with the Fascist program.

Kay Sage, Modern Architecture, and the Tyranny of Geometry