The University of Trieste, thanks to the cultural preservation and outreach work of the University Museum System (SmaTS), is opening the Ducaton Gallery, a new permanent space on the first floor of the right wing of the Gorizia campus, at Via Alviano 18. The gallery is dedicated to the pictorial cycle The Lady from the Sea by Annamaria Ducaton (1936–2026).

The cycle consists of 28 canvases donated by the Trieste painter to the University in 2024, on the occasion of the centenary of its foundation.

Created between 1984 and 1985, the cycle is inspired by Henrik Ibsen’s 1889 drama of the same name. The work represents an emotional and artistic journey in which Ducaton enters into dialogue with her mother, the actress Giannina Herman Macknig, and with Ellida, the protagonist of Ibsen’s play.

The new permanent gallery was created as a tribute and a gesture of gratitude to the recently deceased artist, and enhances the connection between art, personal memory, theatre and UniTS’ cultural heritage.

The gallery will soon be open to external visitors by reservation.

Annamaria Ducaton (1936–2026)
Annamaria Ducaton grew up immersed in the artistic atmosphere of her family. As a child, she began studying piano, but after five years she gave it up to devote herself to painting. An “imaginary” artist, she held around eighty solo exhibitions in Trieste, Duino, Lignano, Udine, Gorizia, Maniago, Brunico, Dobbiaco, Steinhaus, San Bonifacio di Verona, Trento, Rome, Turin, Milan, Izola, Ljubljana, Dobrovo, Salzburg, Graz, Helsinki, Basel, Terezín in the Czech Republic, Venezuela and California. She also took part in more than one hundred group exhibitions in Italy and abroad. Her work developed through a range of themes that allowed her to explore her chosen subjects in depth and in detail, generating a significant cultural contribution that went beyond the personal sphere. Music and literature always accompanied her pictorial work.

The pictorial cycle The Lady from the Sea (1984–1985)
This series of mixed-media works by Annamaria Ducaton draws inspiration from Ibsen’s drama The Lady from the Sea, poetically intertwining personal images and universal symbols. Ducaton uses photographs of herself and of her mother, placing them within an abstract visual context characterised by fluid forms and evocative colours. Each work thus becomes a visual and textual reflection on identity, bonds and the need for freedom.

Twenty-eight of the original twenty-nine works survive and are intended to be read in an order established by the artist herself. The tension between belonging and the desire for escape lies at the heart of these works, in which the sea, evoked through undulating forms and shifting colours, represents the inner world and the hidden forces that accompany the journey of self-discovery.

Ducaton overlays symbols and images. This visual layering expresses the complexity of memory, in which past and present merge, while the face of the mother alternates with that of the artist in a dialogue that evokes both the generational bond and the conflict between what is inherited and what one seeks to overcome. Quotations from The Lady from the Sea accompany the images and intensify the sense of introspection and invisible threat.

The outlines of the figures dissolve into a surreal background, where marine forms and imaginary creatures seem to envelop and observe the characters, embodying inner fears and unspoken desires. The presence of the sea, with its call to freedom and danger, becomes a metaphor for the psychic depth in which the protagonists move.

At the heart of these works is also a reflection on female identity and autonomy. Ellida’s words express the desire to break free from constraints and affirm one’s authenticity. Visually, too, the female figures appear isolated, immersed in abstract landscapes that make them both part of and estranged from the environment around them, suggesting the duality of those seeking to discover and affirm themselves beyond imposed roles.

In summary, Ducaton’s series is an intimate and complex exploration of family relationships and identity, rooted in the poetics of Ibsen’s symbolic sea. The fusion of photography and abstraction produces a layered and vibrant image, inviting reflection on how bonds, whether familial or existential, can be both a refuge and a limit to be overcome.