ISSN 2612-2553


Teresita Scalco – Paolo De Poli e Pietro Melandri. Corrispondenze di vita e smalti

This paper intends to reveal through the correspondence between the Italian artisans Paolo De Poli and Pietro Melandri, ceramic and enamel masters, the intertwining of evolutions and their artistic contaminations. The unpublished letters express their mutual professional esteem, their artistic admiration, the exchange of materials, advices and shared values. In particular, both of them after World War II were active players in the enhancement and defense of Italian artistic craftsmanship.

Giorgio Levi – Una prima ricognizione dei disegni di Tomaso Buzzi per la Galleria della Ceramica alla Triennale di Monza del 1930

The paper presents and comments on the preparatory drawings by Tomaso Buzzi for the preparation of the Gallery of Ceramics at the 1930 Triennale di Monza.

Enzo Biffi Gentili – Col-lezioni magistrali di Andrea Salvatori

Andrea Salvatori was born in Faenza in 1975. In 1995 he graduated from the the State Institute of Ceramic Art “Gaetano Ballardini” in Faenza, in 2000 he graduated in Sculpture at the Academy of Fine Arts in Bologna, in 2009 he won ex-aequo the 56th International Competition of Contemporary Ceramic Art – Faenza Prize. He has held more than twenty solo exhibitions, in Italy and in the United Kingdom, many of which, in the last decade, in prestigious public exhibition venues, such as the Museum of San Domenico in Imola in 2012; the Museum of Lissone in 2013; the Civic Museum of Industrial Art – Davia Bargellini Gallery in Bologna and the Municipal Art Gallery in Faenza in 2016; the Gaetano Filangieri Civic Museum in Naples in 2017; the Palazzo Ducale in Genoa, the Civic Art Gallery Palazzo Gavotti, the Sistine Chapel Apartments of Pius VII in Savona, the MuDA Casa Museo Jorn in Albisola Marina in 2020-2021. He is a still young and widely musealized artist whose work, since initial training, is characterized by the constant and contemporary practice of sculpture and pottery. However, until now, his countless vases, almost always objets trouvés, have not enjoyed careful criticism. For the first time this essay is exclusively dedicated to the interpretation of this fundamental part of Salvatori’s work, which also derives from his collecting obsession (to demonstrate, on the other hand, that the tradition of the so-called ceramic modernariato, in English Mid Century Modern, even the minor one, continues to be a fundamental source for new aesthetic and art-design adventures).

Claudia Casali – Alfonso Leoni, genio ribelle

The anthology organized at MIC in Faenza is a tribute to Alfonso Leoni (1941-1980), an artist who died prematurely and who left a great legacy for ceramic sculpture. Genius and talent are his distinctive features, as can be seen in the extensive production, texts and actions taken to defend art and ceramics. Leoni was a meteor, a son of his time, embodying the protests and avant-garde movements of the 1960s and 1970s.

Stefano A. Poli – Da l’Ange Volant alle pareti cruscotto. Aspetti dell’opera di Gio Ponti fra Palladio e Le Corbusier (1926-1952)

The essay reconstructs the genesis of the pareti attrezzate, theorized and built by Gio Ponti between the 1940s and 1950s. Through the analysis of the articles dedicated to this subject, which appeared in the magazines “Stile” and “Domus”, from the comparison with the existing bibliography and with some original and unpublished documents produced by Ponti, and through the analysis of the original furniture, the pannello-cruscotto appear to be the coherent result of a personal poetics of modernity, which weaves unexpected relationships with Le Corbusier’s theories, and at the same time has its roots in the research on modern style and taste that Ponti promotes since the 1920s. The synthesis between the past and the contemporary present, the rejection of a dogmatic modernity superficially linked to the forms and the visual language, the renewal of tradition, emerge from an unpublished writing dedicated to the villa L’Ange Volant with accents similar to those of the writings about the post-war furnishings.

Giorgio Levi – Anatomia di uno stile: le ceramiche a fasce colorate di San Giovanni alla Vena

The essay presents a detailed stylistic analysis of the colored stripes ceramics by Bini & Carmignani and Ezio Nesti, concluding that the best works of these two factories, certainly not comparable with the creations of Cagli and Baldelli, still have a quality comparable to that of other Rometti’s serial artifacts. This explains both the past attribution errors and the great commercial success of the followers, who were targeting a less than elite market. The essay also identifies in some works by Gio Ponti the iconographic source to which the followers were widely inspired.

Stefano De Martis – Ceramica romana: nuovi studi e approfondimenti

Nearly twenty years have passed since the last major exhibition event devoted to the phenomenon of modernist Roman ceramics, over ten, also taking into account some exhibitions that represented the coherent and direct development of that event. In this long period of time, some works relating to individual artists or artistic manufacturers, at the same time, have enriched the general picture and indicated the considerable margins for further study that are still possible. This essay, therefore, first of all carries out a reasoned survey of studies on the subject, starting with the pioneering Faenza exhibition of 1988, and reconstructs the historical-critical framework that these studies have progressively outlined. If this framework has demonstrated and still demonstrates its solidity, it is also true that in recent years numerous new elements have emerged from documentary research and from the materials surveyed in the fields of collecting and the antiques market: new ceramists and new kilns, new attributions and new “cases” to be resolved. The ten cards contained in this essay are intended to exemplify this still unexplored territory. They have different levels of relevance and definition. They do not pretend to be systematic but are like notes for a hypothetical new exhibition on Roman ceramics between the end of the 1910s and the beginning of the 1930s.

Howard J. Lockwood – The end of an era: the Stedelijk Exhibition of 1931

In 1931, Amsterdam’s Stedelijk Museum held an exhibition of modern Italian decorative arts that encompassed the fields of ceramics, glass and lace work. This unheralded exhibition is important because it was not an Italian exhibition like the Biennales of Venice or Monza but an international event that heralded the current work of the major companies. There are few records of the exhibition but there remains a comprehensive catalogue that accompanied the exhibition, a 70+ page catalog, filled with illustrations, some in color, of the work of the glass companies Artistica Barovier, MVM Cappellin, Venini e C., S.A.L.I.R., Ferro Toso, and Libero Vitali. Richard-Ginori and Lenci represented the ceramics industry and the lacework companies Jesurum, Casa Bianchini di Venezia, Olga Asta, Melville e Ziffer, Bice Colleoni from Verona, Aemilia-Ars from Bologna, Merletti di Saonara of Padova, and Mario Zennaro from Rapallo represented the lace industry. The glass section featured an unpublished series of work by Barovier, the Decorazioni policrome ‘900 series of vases, and his Primavera glass. The work of Carlo Scarpa, including the Geometrische series was highlighted in Cappellin’s section, as was the work of Napoleone Martinuzzi for Venini. The Richard–Ginori section of the catalogue highlighted the last work that Gio Ponti would do for the company. This exhibition marked the end of a very fertile period of Italian decorative arts since Martinuzzi would soon leave Venini, MVM Cappellin would enter bankruptcy, Artistica Barovier changed directions, Ponti would concentrate on Domus and the worldwide depression and the rise of Fascism would reshape every industry in Italy.

Cristina Beltrami – I lustre dell’Hôtel de Massa: un’ennesima traccia di Murano a Parigi

In 1927 the XVIII century building of the Hôtel de Massa has been relocated “pierre à pierre” from its original position on the Champs-Élysées to the 38 of rue Faubourg Saint-Jacques, in the XIV arrondissement-quarter, to become the Société de gens de lettres offices. The internal refurbishment has been entrusted to Maurice Dufrêne (1876-1955), art-director of Maîtrise, the decoration department of Lafayette Galleries. Between 1928 and 1929 he transformed the interiors in a masterpiece of the French deco, employing also chandeliers and appliques produced in Murano.

Irene De Guttry – Gli arredi in vimini e in giunco nelle verande dei transatlantici italiani

The essay illustrates a particular aspect of furniture on board ships, that of the use of vegetable fiber furniture. The author briefly illustrates the events that have seen, at the turn of the nineteenth and twentieth centuries, the spread of wicker and rattan furniture following the interest in oriental countries. Rattan furniture are widely used in the verandas of the upper classes of ocean liners, where they are used to reconstruct the appearance of the winter gardens of residences and large continental hotels. The author offers some examples, among many possible, of Italian ships, steamships and ocean liners, from the beginning of the century to the 1930s. The events that link the spread of this particular type of furniture to the success of specialized Italian producers are also illustrated.

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Registrazione al Tribunale di Milano n. 221 del 25/07/2018