Modern, timeless, effortlessly avant-garde: Pasquarosa, at the Estorick Collection, reviewed

In February 1929, an exhibition by a young unknown female painter opened at the Arlington Gallery on Bond Street. This was not surprising in itself, given that the gallery specialised in lesser-known artists. More surprising was the fact that this artist was a woman – and Italian.

As the critic Emilio Cecchi noted in the catalogue: ‘As regards the best Italian art of today the English public knows very little.’