Archive for the ‘Italian Liberty’ Category

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Jovis Amores – Danae (1906-1908)

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Jovis Amores – Leda (1906-1908)

 

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Jovis Amores – Io (1906-1908)

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At 18, Mondadori, having been apprentice Manzoli in typography, which was initially equipped only with old characters worn and an old hand press 50×70, with the loan of a wealthy local character who took a liking to [probably Osvaldo Gnocchi Viani] took over the same printer rebranding in “La Sociale”:

Tipography “La Sociale”: details

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Key Dates:
1907: Arnoldo Mondadori takes over a small printing and stationery concern in Ostiglia, Italy, called Fratelli Manzoli and renames it La Sociale; the company begins publishing a magazine called Luce!
1911: Mondadori publishes his first two books.
1912: The company is incorporated as La Sociale di A. Mondadori & C. and begins publishing a series of children’s books calledLa Lampada.
1921: Printing activities are consolidated in Verona, and a magazine department is created.

The building is architected using an eclectic neo-reinassance style for the façade:

Tipography “La Sociale”: Façade and main entrance

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Mascarons and ornamental inserts such as garlands and stripes are typical decorative elements in Italian Liberty style:

Tipography “La Sociale”: Liberty details

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Col presento articolo iniziamo intorno alla nostra Mostra, sotto Unti rapporti interessante,- una seria di studi, una vera rassegna particolareggiata, quinto l’argomento ne è degno e richiede. Il nostro collaboratore d’arte, Enrico Thovez, peri, nella sua qualità di segretario del Comitato artistico dell’Esposizione trovandosi impossibilitato ad occuparsi della materia, abbiamo chiamato a sostituirlo; per questa occasiono, Vittorio Pica, 11. giovane critico napoletano, la cui competenza in fatto d’arte, i incontestata, a già gli valse il primo premio all’ultimo concorro fra i critici bandito a Venezia. Non crediamo che il nostro Enrico Thovez, la cui collaborazione ci sarà sempre cara, potesse in tal»occasione avere un miglior costituto.

« C’est une Juliennel > Questa definizione del Théàtre de l’Opera di Parigi, coll otreasticamente efficace nella sua grossolanità culinaria, che un giorno i fratelli Goncourt colsero sullo labbra di un artigiano contemplante il fastoso edificio di Charles Garnier, mi è ritornata assai spesso alla mente nel guardare qualche glorificato monumento del secolo tramontato ora e poco. La verità, che niuno più del resto oserebbe negare, è che il Novecento, così vario, cosi possente, cosi novatore nelle scienze, nelle lettere e nelle altre branche dell’arte non è riuscito ad avere un’architettura propria. I palazzi, le chiese, i teatri e gli altri pubblici edifici, piuttosto che mostrare, come nei secoli antecedenti, una peculiare fisionomia parzialmente originale, sono stati copie, contraffazioni, parodie degli edificii di altre età, oppure, tutte lo vòlte che gli architetti hanno voluto fare sfoggio di una fantasia inventiva che mancava loro, ci si sono presentati quali laboriose composizioni di elementi disparati, presi qui e là ed amalgamati con più o meno abilità. Non soltanto giustificata ma altamente lodevole e, dunque,- la febbrile passione estetica che, già da alcuni anni, stimola o sospinge artisti di varia nazionalità ed il cui ingegno vivido ed ardimentoso non sa acquietarsi alle vecchie formule, a rinnovare di continuo i tentativi per dotare alfine l’epoca nostra di un nuovo stile architettonico, il quale risponda alle nuovo esigenze, alle nuove aspirazioni, ai nuovi gusti della società odierna e, in pari tempo, si accordi con lo sviluppo sempre più grandioso e sempre più avido d’originalità di tutte le arti applicate.

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SARTORIO Giulio Aristide, Sybil. Dramatic poem in four acts
Milan, L’Eroica, 1922. In the 4th largest, 219 – [11] p., I fb, 219 etchings on zinc (including 70 full page). Binding editorial cartoon, with illustrations on the front plate.1018 and number of the signature of Ettore Cozzani and Giulio Aristide Sartorio.

One of the masterpieces of Italian graphic design of the twentieth century. This magnificent edition, published in only 1333 numbered copies signed by the artist and publisher Ettore Cozzani and fully engraved on zinc, is the most important contribution to the art of book Sartorio. The beautiful illustrations, typefaces and decorative friezes were designed and implemented in a period of time of over ten years: Sartorio began to prepare the sheets of zinc in 1912. .Partially published in the journal L’Eroica (in the years 1913-14) where Cozzani explains the technique used by the artist to run the plates, engraved on wood instead of zinc, but with the system of engraving in relief with effect woodcut by applying acid in the parts where you did not want to deposit the ink (E. Bardy, searches of the ‘Black’, p. 133). After the impression all the printing material was destroyed. Giulio Aristide Sartorio – painter, sculptor, writer, illustrator and photographer – (Rome, 1860-1930) spent considerable time in Weimar, Paris and London, was attracted by the Pre-Raphaelites, he joined the group "In Arte Libertas’ and was among the founders of Twenty-five of the "Roman Countryside". Aristide Sartorio is also famous because it has performed extensive pictorial frieze in the Chamber of Deputies building and dedicated to the history of Italian civilization.

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 Artist

Alfredo Campanini

 Co-Worker

 

 Year 

1904-06

 Location/Map

 Style

Indubitably the masterpiece of the Milanese artist Alfredo Campanini. Even if the architecture is quite simple and it recalls somewhat some production of Giuseppe Sommaruga in Milano too, this building is quite impressive due to the outstanding decorations. Putti on the façade seem to dance around the two huge central figure at the main entrance. Every single detail was conceived by the architect and realized by well known artist such as Mazzucotelli for the irons. Quite unusual the glasses for the window, realized with a concave effect.

Interior are also fully decorated and every detail is minutely conceived and realized. A typical example of Milanese Art Nouveau (Liberty) style, where the traditional design of the architectural structure of the building is mitigated by the abundance of decorations and details.

 Pictures

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 References

 

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 Artist

Ugo Giusti, architect

 Co-Worker

Galileo Chini, main decorator

 Year 

 

 Location/Map

 Style

The Berzieri, erected in Salsomaggiore in 1913-1923, is one of the most representative buildings of Art Nouveau in Italy. Design due to architect Ugo Giusti and decorator Galileo Chini and was inspired by the geometric abstractions typical of the Viennese Secession.
The floral and curves ornaments, the general sense of lightweight beauty
and sinuous lines achieve an ideal accord with the ephemeral environment of the spa baths.
Galileo Chini, almost self-taught but with a large capacity, Florence, was born in 1873 in Firenze.
Educated as ceramist, he approached to the Liberty style and that of the Viennese Secession. 
His works were exhibited at international exhibitions in London (1898), Paris (1900), Turin (1902). In 1909 he prepared cartoons for the dome of the headquarters of the Venice Biennale.
In 1911 he moved to Persia, the Shah called for the decoration of the palace’s throne by architect Rigotti.
That same year he went to Bangkok to decorate the Palace of the King of Siam. Back in Italy teached at the Academy of Fine Arts in Florence.
Some of his work can be found at the Galleria d’Arte Moderna in Rome, the Uffizi in Florence, the Galleria d’Arte Moderna in Palazzo Pitti and the Museum of Ceramics in Faenza.

 Pictures

Terme Berzieri, architect Ugo Giusti – façade

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Terme Berzieri, architect Ugo Giusti – façade details

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Galileo Chini – Ground Floor decorations

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Galileo Chini – First Floor decorations

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Terme Berzieri – Details

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 References

 

 

The Studio, Volume 26– dr. Enrico Thovez, “The first international exhibition of modern decorative Art”

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The Studio, Volume 27 – Turin 1902: the Austrian Section

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The Studio, Volume 27 – Turin 1902: the German Section

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The Studio, Volume 27 – Turin 1902: the Italian Section

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The Studio, Volume 26 – Turin 1902: the Scottish Section

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The Studio, Volume 26 – Turin 1902: the Dutch and English Sections

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Adolfo De Carolis (De Karolis) (Montefiore Asia (AP), Jan. 6  1874 – Rome, Feb. 7 1928) was an Italian painter, engraver, illustrator and author of art.
In 1888, by advice of the architect Giuseppe Sacconi, he enrolled at the Accademia di Belle Arti di Bologna
where he attended courses of fellow Domenico Ferri. In 1892, once graduated, he moved to Rome, following courses Domenico Bruschi and Alessandro Morani Art Museum Industrial and joining the group "In Arte Libertas" in 1897,
embracing aesthetic and philosophical positions, derived from the thought of John Ruskin and William Morris.

The believe in philosophical works of Ruskin pushed De Carolis to consider the artistic production as a sort of aesthetic and moral mission, in which the artisanal work of the artist follows his high spiritual attitude and role. Second consequence of this aesthetic attitude was the reconsideration of the whole artistic production and the removal of any limits or hierarchies towards artistic techniques.  His works are also influenced by the fifteenth century Umbrian and Tuscany art. The Reinassance played for De Carolis around the same role played by the revival of Gothic for Morris.


Adolfo De Carolis – Illustrations from “Il Notturno” of Gabriele D’Annunzio

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Again, accordingly to the spiritual mission of the artist, every aspect of the human life should be fulfilled by art. The philosophical credo echoed the quest of a Gesamtkunstwerk, of the Total work of Art championed by Richard Wagner and by several national declination (especially Austrian) of the Symbolist and Art Nouveau Movements.

Adolfo De Carolis – Illustrations from “Fedra” of Gabriele D’Annunzio

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This aesthetic belief is quite strong and then evident in the  production of De Carolis. While some production (such as the illustrations for Francesca da Rimini) are quite influenced by Ruskin and Pre-raphaelite taste, the artisticr relationship with the famous writer and aesthete Gabriele D’Annunzio influenced De Carolis towards a more symbolic and decadent style, such as one can see in the illustration of Fedra and Il Notturno. The new spelling of the surname "De Karolis," which uses the first  decade of the century,  attributable to the fashion of exoticism, influenced by d’Annunzio.

Adolfo De Carolis – Illustrations from “Francesca da Rimini” of Gabriele D’Annunzio

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Coherently with his credo on the Gesamtkunstwerk, De Carolis was active also as painter and decorator. One of his masterpiece as decorator is the  villa Costantini Brancadoro of San Benedetto del Tronto finished in 1904.

Anyway his fame was definitively bound to his activities as book and magazine illustrator. Apart as main and most famous  illustrator of D’Annunzio (eventually, he illustrated not only books but also the famous Mottos of D’Annunzio, as we will see in a following article), he was also a successful illustrator of two of the most influencing turn of the century Italian art magazines "Novissima" and "Hermes". For this latter he prepared an article on Decorative Modern Art (February 1904), in which he states, again, the interest accrued over the years to the unity of the arts, decorative and applied arts.

Adolfo De Carolis – Illustrations from “LA figlia di Iorio” of Gabriele D’Annunzio

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Adolfo De Carolis – Illustrations from “La Fiaccola” of Gabriele D’Annunzio

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