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Fashion Witnessed: Italian Visual Art Section No.1

Johnny 2018-04-10 09:54

Currently, a thematic exhibition titled as Il Ritorno in Italia is held in the Salvatore Ferragamo Museum in Florence, Italy. The exhibition presents with the charming mood of Italy in the 1920s. Carlo Sisi, the curator of the event, was inspired by the brand founder Ferragamo’s return voyage across the Atlantic. Collaborated with academic board and under the visualization of setting decorator Maurizio Balò, she gave birth to the exhibition which reveals the visual arts of Italy in the 20th century through Ferragamo’s eyes. The exhibition looks back the art motifs and works that directly or indirectly influenced his creation, as well as the cultural and social environment then. Meanwhile, this specific period of history gave birth to countless designing ideas and artistic creations and enabled liberal and bold artists to realize their wildest dreams.

Exhibition Hall 1st Back to Italy

The exhibition starts from the first hall. 

展厅1号场景 1.jpg

展厅1号场景 2.jpg

View of Exhibition Hall 1st

The prologue introduces the historical background of one of the biggest ocean liners of Navigazione Generale Italiana Company – Roma. This was the luxurious liner which Ferragamo took to return to his motherland, Italy. 

1927年,罗马号在海上(Courtesy Collezione Paolo Piccione, Genova).jpg

The ocean liner Roma at sea, 1927 (Courtesy Collezione Paolo Piccione, Genova)

The exhibition hall shows several photographic works, recording the exquisite suites and extravagant lifestyle on the ship. The theme of sailing across the Atlantic is thus revealed and dominates the whole exhibition. Moreover, the hall also presents the ad brochures and indoor design drafts of the luxurious ocean liner.

左:罗马号1932年头等舱的广告宣传册画面(Courtesy Collezione Paolo Piccione, Genova);右:罗马号的行李标签(Courtesy Collezione Paolo Piccione, Genova).jpg

Left: Advertising brochure for first-class accommodation on theRoma, 1932 

Right: Luggage label from the ocean liner Roma (Both Courtesy Collezione Paolo Piccione, Genova)

The video device at the center of the hall plays the life moments when he was in his hometown, his career experience after he grew up to practice in American film industry, and quite a few pieces of news on his great success in Hollywood.

左:Salvatore Ferragamo 1920的肖像(Firenze, Museo Salvatore Ferragamo);中:Joan Crawford在Ferragamo当时的好莱坞店铺里(Firenze, Museo Salvatore Ferragamo);右:Salvatore Ferragamo 1927摄于罗马号甲板上(Firenze, Museo Salvatore Ferragamo)的副本.jpg

Left: Alfred’s Los Angeles, Salvatore Ferragamo’s Portrait, 1920

Middle: Joan Crawford in Ferragamo’s Store in Hollywood

Right: A frame of Salvatore Ferragamo aboard the ocean liner Roma that brought him back to Italy in 1927 (All from Firenze, Museo Salvatore Ferragamo)

In addition, the exhibition hall also puts on display a series of his travelling files and American identity certifications on his returning, as well as the classic shoe style he designed at that time. Besides, the specially designed shoes for small-budget film stars are all on exhibition, while none of them is negligible in significance. 


Left: Salvatore Ferragamo, Closed shoe, 1925, Suede upper with fan motif around the collar and heel, wavy stripe decoration in suede on the upper. Modern reproduction from a photograph 

Middle: Salvatore Ferragamo, “Labirinto” pump 1927-1930, Kid upper embroidered with a “Labyrinth” geometric motif in silk thread 

Right: Salvatore Ferragamo, Two-piece shoe, 1930, Embroidered satin, Tavarnelle lace and kid upper (All From Firenze, Museo Salvatore Ferragamo Foto Arrigo Coppitz)

左:1926年,“Autumn”鞋履,表面是手工绘制的植物主题亚麻材质,现代复刻品(Firenze, Museo Salvatore Ferragamo Foto Arrigo Coppitz)右:1926年,“The Star”鞋履,麂皮踝带,莱茵石星光主题,现代复刻品(Firenze, Museo Salvatore Ferragamo Foto Arrigo Coppitz).jpg

Left: Salvatore Ferragamo, “Autumn” closed shoe, 1926, Upper in hand-painted linen with a plant motif. Modern reproduction from a photograph

Right: Salvatore Ferragamo, “The Star” two-piece, 1926, Suede model with strap and rhinestone glitter star-motif. Modern reproduction from a photograph

 (Both from Firenze, Museo Salvatore Ferragamo, Foto Arrigo Coppitz)


Left: Salvatore Ferragamo, Oxford shoe, 1929, Kid upper with asymmetrical decoration in lizard. The model belonged to Countess Alessandra della Gherardesca Spalletti 

Right: Salvatore Ferragamo, Sandal, 1930, Satin and kid upper, gilded brass heel with ankle strap in silk passementerie cord.

The model belonged to Countess Alessandra della Gherardesca Spalletti (Both from Firenze, Museo Salvatore Ferragamo, Foto Arrigo Coppitz)

The hall also presents a painting by Pippo Rizzo which portraits a modern traveler yearning for a new adventure, symbolizing the two marvelous trips Ferragamo made. One of them is going to America and the other is returning to Italy from the New World. Another piece of work is the Still Life by Mino Maccari. The box engraved with ‘Italy’ characters implies the bright future of spreading Italian handicrafts to the entire world.

左:意大利画家Mino Maccari 1926年所作的帆布油画《静物》(Gabinetto fotografico del Polo Museale Regionale della Toscana)右:意大利未来主义画家Pippo Rizzo 1929年所作帆布油画《远行者》( Palermo, Galleria d’Arte Moderna “Empedocle Restivo”).jpg

Left: Mino Maccari, Still life, 1926, Oil on canvas (Gabinetto fotografico del Polo Museale Regionale della Toscana)

Right: Pippo Rizzo, The wanderer, 1929, Oil on canvas Palermo (Galleria d’Art)

Exhibition Hall 2nd Florence in the 20th Century

Entering the second exhibition hall, you would be warmly welcomed by a series of marvelous paintings by some distinguished artists in the 20th century – Giovanni Colacicchi, Egisto Ferroni, John Baldwin, Giuseppe Piombanti Ammannati and Ottone Rosai. 


View of Exhibition Hall 2nd

They all ever vividly portrayed the charming sights of Florence with their various styles of touches. 

左:乔凡尼·蔻拉齐基1925年所作帆布油画《圣·节瓦西奥的工厂》(Firenze, Collezione privata, Foto Arrigo Coppitz)右:乔凡尼·蔻拉齐基1922年所作帆布油画《 圣塔·却尼塔广场 》(Firenze, Collezione Ferragamo, Foto Arrigo Coppitz).jpg

Left: Giovanni Colacicchi, The factory of San Gervasio, 1925, Oil on canvas (Firenze, Collezione privata, Foto Arrigo Coppitz)

Right: Giovanni Colacicchi, Piazza Santa Trinita, 1922, Oil on canvas (Firenze, Collezione Ferragamo, Foto Arrigo Coppitz)

约翰·巴尔德温,《新圣塔·玛丽亚站》,1935年,帆布油画(Gabinetto fotografico del Polo Museale Regionale della Toscana).jpg

John Baldwin, Santa Maria Novella Station, 1935 c., Oil on canvas (Gabinetto fotografico del Polo Museale Regionale della Toscana)

左:基多·费洛尼1920年所作帆布油画《旋转木马》(Gabinetto fotografico del Polo Museale Regionale della Toscana)右:吉赛普·皮翁邦提·阿曼那提1925年所作硬纸板蛋彩画《圣·却尼塔大桥》(Courtesy 800:900 Artstudio, Livorno-Lucca, Foto Arrigo Coppitz).jpg

Left: Guido Ferroni, The merry-go-round, 1920 c., Oil on canvas (Gabinetto fotografico del Polo Museale Regionale della Toscana)

Right: Giuseppe Piombanti Ammannati, Santa Trinita Bridge, 1925, Tempera on cardboard (Courtesy 800/900 Artstudio, Livorno-Lucca, Foto Arrigo Coppitz)

Among which Rosai’s works draw extra attention. The painter reproduced the tranquil and peaceful Florence in the 15th century with his delicate paintbrush. He flawlessly interpreted the unique cultural atmosphere, as the magazine Solaria ever described. Art, literature, music and even films all became the hit topics at that time.

奥托耐·罗塞,《卡米耐广场》,1922年,帆布油画(Gabinetto fotografico del Polo Museale Regionale della Toscana).jpg

Ottone Rosai, 1922, Oil on canvas (Gabinetto fotografico del Polo Museale Regionale della Toscana)

That is exactly the Florence where Ferragamo once lived. In addition, Rosai’s works restored the architectural features and development of the city, as well as the unique charm that attracted well-behaved tourists to revisit the place time after time. At the center of the exhibition hall, a screen plays a short movie produced after the fashion designer returned to Florence, which is also a rare recording of Florence in the 20th century.

Exhibition Hall 3rd Italian Folk and Decorative Art

The third exhibition hall is themed on folk and local art, which led Italian contemporary decorative art to its rejuvenation.


View of Exhibition Hall 3rd

The hall first exhibits the works from Roman Ethnography Show back to 1911. Among them some pieces are collected from various regions in Italy to be collectively on the fashion show. 


View of Exhibition Hall 3rd

A number of exquisite art pieces are also presented in the hall, including the Sardinia ceramics by Federico Melis, the Roman style arts by Duilio Cambellotti, the luxurious works by Vittorio Zecchin from Veneto region of Italy, and the futuristic works by Fortunato Depero.

左:费德里克·梅里斯,1927年,胡桃木餐具橱,装饰有画作陶瓷片(Courtesy Wolfsoniana, Palazzo, Ducale Fondazione per la Cultura, Foto Arrigo Coppitz)右:费德里克·梅里斯1927年所作上釉陶器——双耳细颈椭圆土罐(Urbania (PU), Musei Civici del Palazzo, Ducale, Foto Arrigo Coppitz).jpg

Left: Federico Melis, Sideboard 1927 c., Black-painted walnut, painted ceramic tile (Courtesy Wolfsoniana, Palazzo Ducale Fondazione per la Cultura Foto Arrigo Coppitz)

Right: Federico Melis, 1927 (Glazed pottery Urbania (PU), Musei Civici del Palazzo Ducale, Foto Arrigo Coppitz)

左:艾蒂娜·阿尔塔拉,《撒丁岛的女人》,1930年,彩漆釉瓦瓷画,装配于雕刻木质框架中(Courtesy Wolfsoniana, Palazzo, Ducale Fondazione per la Cultura, Genova)右:艾蒂娜·阿尔塔拉,《新娘》,1919年,彩纸拼贴画(Courtesy MAN 2017, Nuoro).jpg

Left: Edina Altara, Donna Sarda Sardinian woman, 1930 c., Painted and glazed terracotta tile, carved wooden frame

(Courtesy Wolfsoniana, Palazzo Ducale Fondazione per la Cultura, Genova)

Right: Edina Altara, The bride, 1919, Coloured paper collage (Courtesy MAN 2017, Nuoro)

These art works for practical use have been on exhibition all over the world since Monza Biennale in 1923. 

左:杜伊利欧·坎贝洛提,《婚礼妆奁箱》,1923年,胡桃木与熟铁,镶嵌工艺由玛祖盖提,1923年在第一届意大利蒙扎双年节上展出(Courtesy Sergio Amici, Piacenza)右:童那·斯康诺,《女子》,1928年,帆布油画(Courtesy MAN 2017, Nuoro).jpg

Left: Duilio Cambellotti, Wedding chest, 1923, Wedding chest in walnut (Di Pretoro-Masini) and wrought iron (Bazzoli), inlaid work by Mazzucchetti. 

Displayed at the First Monza Biennal, 1923 (Courtesy Sergio Amici, Piacenza)

Right: Tona Scano, Woman wearing a costume, 1928, Oil on canvas (Courtesy MAN 2017, Nuoro)

Multiple forms of art activities pushed the further development of the classical idea of “Made in Italy” based on the local regionalism and its national cultural recognition. Henceforth the unique Italian fashion style was born.

左:杜伊利欧·坎贝洛提,指饰托碗,1920年,陶瓦(Roma, Archivio dell’Opera di Duilio Cambellotti)右:罗贝托·罗塞提,《年轻女子脸部彩绘盘》,1926年,彩色釉漆陶瓦(Faenza (RA), MIC, MIC Museo Internazionale delle Ceramiche, Faenza).jpg

Left: Duilio Cambellotti, Bowl with hands, 1920, (Terracotta, Roma, Archivio dell’Opera di Duilio Cambellotti)

Right: Roberto Rosati, Plate with young woman’s face, 1926 c., Painted and glazed terracotta (Faenza (RA), MIC, MIC Museo Internazionale delle Ceramiche, Faenza)


Left: Vittorio Zecchin, Three heads of women, 1919 c., Silk tapestry (Padova, Collezione privata, Foto Arrigo Coppitz)

Middle: Vittorio Zecchin, Medusas, 1919-1923, Tapestry embroidered on silk (Courtesy Collezione privata, Venezia)

Right: Vittorio Zecchin, Vestal virgins bowl, 1919, Transparent and polychrome pâte de verre (Gardone Riviera (BS), Fondazione il Vittoriale degli Italiani – Archivio Iconografico)

左:佛图纳托·德佩罗,《齐奥齐亚里亚的农妇》,1919年,帆布油画(Courtesy © 1999-2017 Christie’s International Real Estate)右:佛图纳托·德佩罗,《那不勒斯的马车,塔朗泰拉地区》,1918年,帆布油画(© MART–Archivio Fotografico e Mediateca, Trento e Rovereto).jpg

Left: Fortunato Depero, Peasant woman of the Ciociaria, 1919, Oil on canvas (Courtesy © 1999-2017 Christie’s International Real Estate)

Right: Fortunato Depero, Neapolitan cart. Land of the tarantella, 1918, Oil on canvas (© MART – Archivio Fotografico e Mediateca, Trento e Rovereto)

左:阿尔弗雷多·戛乌洛·阿姆波罗西,《戛尔达湖上的船》,1922年(Courtesy © 2017 Fondazione Massimo e Sonia Cirulli, San Lazzaro di Savena, Bologna)右:梅尔齐奥勒·梅利斯,《来自博诺的少女,萨丁式的微笑》,1926年,瓷瓦,1927年在第三届蒙扎双年展上展出(Courtesy MAN 2017, Nuoro)Biennal, 1927-Courtesy MAN 2017, Nuoro.jpg

Left: Alfredo Gauro Ambrosi, Boats on Lake Garda, 1922, Oil on canvas (Courtesy © 2017 Fondazione Massimo e Sonia Cirulli, San Lazzaro di Savena, Bologna)

Right: Melkiorre Melis, Girl from Bono Sardinian smile, 1926, Ceramic tile. Displayed at the Third Monza Biennal, 1927 (Courtesy MAN 2017, Nuoro)

30 尼诺·西格练提,《穿着撒丁服装的年轻女子》,1927年,意大利花饰陶瓦片(Roma, Collezione privata, Foto Arrigo Coppitz).jpg

Nino Siglienti, Young girl wearing a Sardinian costume in profile, 1927 c., Decorative majolica tile (Roma, Collezione privata, Foto Arrigo Coppitz)

Exhibition Hall 4th The Italian Women

After WWII, women welcomed the full emancipation of rights. They got rid of the bound of maternal stereotype and were no longer the repressed laborers. They began to stand out in social activities, entered art circle and participated in all sorts of festival celebrations and sport events. After the emergence of the concept “femme fatale”, the female emancipation that got on the top pushed forward a brand-new trend from the late 19th century to the early 20th century. 


View of Exhibition Hall 4th

In the fourth exhibition hall, a large area is devoted to the presentation of women closets and paintings. The various clothing in the closets are suitable are for different situations. 


View of Exhibition Hall 4th

While the paintings show the living scenes of famous women figures. Moreover, the fourth hall also exhibits the portrait photography works of women artists, photographers, authors, actresses and politicians. They are all reputable in their respective fields. To name a few, Marquise Luisa Casati, Margherita Sarfatti, Alma Fidora, the Wulz sisters, Edina Altara and Paola Borboni are among them.


From Left to Right

Maria Monaci Gallenga, Cape Manteau, 1925 c., Printed voided velvet; silk, block printing with metallic pigment (Prato, Museo del Tessuto, Foto Arrigo Coppitz)

Sartoria parigina, Parisian dressmaker’s, Evening gown, 1925 c., Crêpe silk, needle- embroidered with glass beads (Prato, Museo del Tessuto, Foto Arrigo Coppitz)

La Merveilleuse, Coat, 1926 c., Crêpe silk embroidered with soutache (Roma, Collezione Enrico Quinto e Paolo Tinarelli, Foto Arrigo Coppitz)

M. Pilliteri Merlet Palermo, Dress and coat, 1924-25 c., Crêpe silk with soutache trimming. Wraparound coat in crêpe silk

(Roma, Collezione Enrico Quinto e Paolo Tinarelli, Foto Arrigo Coppitz)

左:齐普里亚诺·艾费西奥,《尤物》,1927年,帆布油画(Courtesy Fondazione Oppo, Roma)右:齐普里亚诺·艾费西奥·奥普,《在壁橱前的女子》,1925年,木质油画(Courtesy Collezione Pigmi Oppo, Roma).jpg

Left: Cipriano Efisio Oppo, The seductress, 1927,  Oil on canvas (Courtesy Fondazione Oppo, Roma)

Right: Cipriano Efisio Oppo, Female figure with folding screen, 1925, Oil on wood (Courtesy Collezione Pigmi Oppo, Roma)

左:里卡多·托塔,《梳妆台和披肩》,1923年,帆布油画(Courtesy Archivio Pinacoteca Metropolitana di Bari “Corrado Giaquinto”)右:阿尔贝托·马提尼,《演奏中的女侯爵》,1931年,硬纸板油画(Courtesy Collezione F.G., Foto Matteo Zarbo).jpg

Left: Riccardo Tota, Toilet table or The blue shawl, 1923, Oil on canvas (Courtesy Archivio Pinacoteca Metropolitana di Bari “Corrado Giaquinto”)

Right: Alberto Martini, La Marquise en Euterpe, 1931, Oil on cardboard (Courtesy Collezione F.G., Foto Matteo Zarbo)

左:《意大利画家比切·拉扎里在她的工作室里》(Courtesy Archivio Bice Lazzari)右:摄影家马里奥·奴耐斯·维斯镜头下的艺术家阿玛利亚·古格利耶米耐提(ICCD, Fondo Nunes Vais, Roma).jpg

Left: The artist Bice Lazzari in her studio (Courtesy Archivio Bice Lazzari)

Right: The writer Amalia Guglielminetti in a photograph by Mario Nunes Vais (ICCD, Fondo Nunes Vais, Roma)

左:莫西·利未,《海滩》1920年,帆布油画(Courtesy Società di Belle Arti, Viareggio (LU))右:《银色的宁静——阿尔玛·费多拉肖像画》,1922年,帆布油画(Courtesy Galleria d’Arte Moderna, Genova).jpg

Left: Moses Levy, Beach, 1920, Oil on canvas (Courtesy Società di Belle Arti, Viareggio (LU))

Right: Silver quietude – Portrait of Alma Fidora, 1922, Oil on canvas (Courtesy Galleria d’Arte Moderna, Genova)

左:圣塔克洛切工作室,舞蹈家吉安妮娜·倩西,《飞空之舞10》,1931年,倩西的服装由艺术家安里科・普兰波利尼设计(© MART–Archivio Fotografico e Mediateca, Trento e Rovereto)右:59 摄影师吉塔·卡勒尔镜头下的意大利作家、记者和艺术家玛格赫利塔·萨法提,1930年代早期(Archivio G.B.B. : Agenzia Contrasto).jpg

Left: Aerodances 10, 1931, Giannina Censi’s costume was designed by Enrico Prampolini (© MART – Archivio Fotografico e Mediateca, Trento e Rovereto)

Right: Margherita Sarfatti in a photograph taken by Ghitta Carell in the early 1930s (Archivio G.B.B. / Agenzia Contrasto)

左:艺术家艾蒂娜·爱尔塔拉肖像照(Courtesy Archivio Tomasi, Milano)右:影师万达·伍兹镜头下的艺术家阿妮塔·皮通妮(Firenze, Raccolte Museali Fratelli Alinari).jpg

Left: Portrait of the artist Edina Altara (Courtesy Archivio Tomasi, Milano)

Right: The artist Anita Pittoni in a photograph by Wanda Wulz (Firenze, Raccolte Museali Fratelli Alinari)

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