ISSN 2612-2553

RICONOSCIUTA DALL'ANVUR COME RIVISTA SCIENTIFICA PER LE AREE 08 (ARCHITETTURA) E 10 (SCIENZE STORICO-ARTISTICHE)

ABSTRACTS

LA CERAMICA DIPINTA DI ENZO BORGINI QUANDO LA PITTURA SI PONE A SERVIZIO DELLA CERAMICA di Virginia Lepri

The essay examines the ceramic production of Signa artist Enzo Borgini (1934-2021). The paper opens with a brief biographical note that traces the most significant events in the Tuscan artist’s life: beginning with his formative experience at the Villaggio Artigiano del Fanciullo, then moving on to his academic studies and those carried out as a self-taught artist, his work at ceramic factories in the area (Zecchi Ceramiche, Manifattura di Signa, Ceramiche Pugi and Ceramiche Bagni), and the international and national exhibitions in which he participated or in which he was a protagonist. The larger part of the contribution, on the other hand, is devoted to the study of the ceramics made by Borgini over the years, delving into subjects, themes and techniques used, from erotic series to those with ‘figures’and crowds, to self-portraits and animals. What emerges is the personality of an original artist, always inclined to experimentation who, despite living on the margins of the great contemporary art system, is of extreme interest.

LE BOTTIGLIE DI ARRIGO VISANI di Riccardo Visani

Arrigo Visani (1914-1987) works at the “Cooperativa Ceramica d’Imola” (C.C.I.) from June 1946 to January 1951. During the first year he attends Giorgio Morandi’s drawing and engraving lessons at the Academy of Fine Arts in Bologna, resumed after the war parenthesis. In the Artistic Section of C.C.I. he creates “ex novo” a varied series of bottles: among them the ones known as Imola’s “living” or “animated” bottles. In these latter he conveys, with the poetical sensitivity and the technical mastery widely recognized to him, a personal and precocious interpretation of his teacher’s psicology of art and the suggestions stemming from his extraordinary formal lesson. The current statutory anonymity of C.C.I. has unfortunately favoured a certain arbitrariness of attribution of this kind of ceramics, both in literature and in various art shows dedicated to that period. This article intends to restore Visani’s full artistic authorship.

UNA COLLEZIONE INEDITA DI ETTORE SOTTSASS E GLI ESORDI DI CLETO MUNARI di Davide Alaimo

The discovery of two pewter objects stamped with the signature Ettore Sottsass 17 encouraged me to research the beginning of Cleto Munari’s activity. The protagonist of 20th century jewelery and designer silverware design, who spoke about himself in a long interview, began his career thanks to a metal with very ancient origins but modest value.

LA SICILIA DÉCO E FUTURISTA ALLE MOSTRE DI ARTI DECORATIVE DI MONZA-MILANO di Giorgio Levi

The essay analyzes the works presented at the Triennali delle Arti Decorative of Monza-Milan in 1927 and 1930 by four important Sicilian artists, standard bearers of déco and futurism: Paolo Bevilacqua, Pippo Rizzo, Alberto Bevilacqua and Alfio Fallica.

FOULARDS DI FERRAGAMO CREAZIONI PREZIOSE E DEMOCRATICHE Silvia Pinna

The article traces the significant stages of the famous exhibition of Ferragamo “Seta”,

which ended in 2022, based on its catalog and the essays that compose it.

Starting from the introductory contribution of Stefania Ricci, emphasis has been placed

on the evolution of the foulard of the famous Maison to our days, from the history of the

textile market in the second half of the 20th century, passing through the figure of Fulvia,

the fourth daughter of Salvatore, and of her role in the company and in the art of silk since

1971, to the contributions of artists and students who paid tribute to this precious and at

the same time democratic yarn of the silkworm.

Particular importance is given to the creative process of the “quadro printed on silk”, to

the historical-artistic influences and to the craftsmen and techniques that have led and

lead to its realization, with particular attention to the different characteristics and types

become symbol and icon of the brand.

Contrasts, influences and references to which the noble and imaginative fashion accessory

of Ferragamo lends itself to reflect and accompany the social life over the decades.

IL TRANSFERWARE CON DECORI CLASSICI IN ITALIA TRA OTTO E NOVECENTO Giorgio Levi

The paper discusses the diffusion in Italy of the three most important English printed decorations

(transferware), “Willow”, “Colandine” and “Ferrara” and their relevance from a production-

economic point of view for the big ceramic industries (Richard-Ginori, Galvani

and SCI of Laveno) and for small companies such as those in the San Michele degli Scalzi

district of Pisa.

MARCO COSTANTINI E LA DECORAZIONE A STAMPA ALLA S.C.I. DI LAVENO Lena Costantini

The essay describes Marco Costantini’s work. From 1947 to 1966 his activity took place in

the factory of the Società Ceramica Italiana of Laveno, where he dealt with engraving for

the decoration of earthenware and porcelain, creating his own works or transpositions

from drawings by Guido Andlovitz, Antonia Campi, Leonor Fini, Mario Vellani Marchi, exhibited

at the Milan Triennale in 1951. In 1966 Costantini opened his workshop in Laveno

Mombello, where he continued his activity as engraver. The shop has been managed by his

successors since his death in 2003.

“NON SORRETTA DAI NUOVI PROCESSI TECNICI”. ARTIGIANALITA’ SERIALE NELLA CERAMICA POPOLARE VICENTINA Edoardo Lo Cicero

The contribution aims to examine how the phenomenon of folk Vicenza ceramics during

the second half of the 19th century represented an effort by a provincial and artisanal

world to respond to industrial and mass-produced innovations, primarily originating from

England. Vicenza manufactories, in their endeavor to withstand the influx of stoneware

imports, had to reconsider their manufacturing processes, making them quicker and more

cost-effective. Consequently, they incorporated the use of masks, stencils, lace as a pattern

template for adorning plate rims, and shaped sponges in the decorative phase. This,

in turn, contributed to shaping both the forms and designs of what is commonly referred

to as folk ceramics.

GIO PONTI E LA CERAMICA JOO MILANO: IL VALORE DEI RIVESTIMENTI CERAMICI NELL’ARCHITETTURA MODERNA Fabio Marino

Since the second half of the 1950s onwards, Gio Ponti established a long-lasting partnership

with Ceramica Joo Milano, the producer of high-relief glazed ceramic tiles, designed

by Ponti himself and used to clad the majority of his architectures. Ceramica Joo

Milano falls within the category of those manufacturing companies with a hybrid structural

setting, capable of merging industrial demands while preserving execution methods

associated with artisanal concepts and craftsmanship. This collaboration persisted

continuously for extended periods, supporting the Milanese architect not only in making

and exploring the multiple conditions of the design process but also in furthering a vision

and a line of thought consistently articulated in his writings. The products by Ceramica

Joo Milano fulfill Ponti’s pursuit of incorruptibility, famously expressed in his book Amate

l’architettura and numerous articles published in “Domus”, but also in the company’s advertisements

featured in the same magazine, which document and illustrate the values of

high-relief glazed ceramic coverings in modern architecture.

FORNASETTI MILANO – MADE IN ITALY DAL MOBILE D’ECCEZIONE ALLA PRODUZIONE IN SERIE Andrea Delle Case

Piero Fornasetti (1913-1988) is an artist with multiple aptitudes to whom critics have assigned

as many definitions. By investigating the Fornasetti designer we will discover the

Fornasetti painter, by delving deep er into the Fornasetti painter, we will find the Fornasetti

decorator, by declaring him a decorator we will discover the collector’s approach and

again that of the Fornasetti designer; a seamless circle.

The article intends to address the “invention” developed by Fornasetti in the decoration of

furniture production in an evolutionary key: from the single example to the mass production

started, independently, according to very modern criteria for the time. A path punctuated

by the Milanese triennials that from 1936 reaches up to 1951, the year in which he

exhibited the Trumeau Architettura, designed by Gio Ponti, now in the permanent collection

of the Victoria & Albert Museum. An experiment in total decoration that gave rise to

Piero Fornasetti’s highly original production.

Archivio Abstracts

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