Fashion in all its spheres and creations is also part of the futurist reconstruction of the
universe. Among these, the gilet or waistcoat represents one of the most original and fun
garments, capable of personalizing and giving prestige to the wearer. There were not many
waistcoats, almost all made by Fortunato Depero, but today they appear as many works of
art, still fun and elegant at the same time. The article is an excursus on this garment, which
can still make us reflect on the elegance and extravagance of young fashion of yesterday
and today.

Giorgio Levi

Giorgio Levi, triestino di nascita e pisano di adozione, è stato professore ordinario di Informatica fino al 2012: uno dei fondatori della prestigiosa scuola pisana, ricercatore noto a livello internazionale, insignito dell’ordine del Cherubino. Da anni collezionista di ceramica italiana del primo novecento, si è trasformato in studioso, dedicandosi alla riscoperta e valorizzazione di ceramisti, manifatture e distretti ceramici dimenticati o mai studiati in modo scientifico. Ha pubblicato 7 libri e curato 2 mostre.

Marco Levi’s life path, director of the historic earthenware factory “Vedova Besio” in
Mondovì, town of popular ceramic, under the sign of the colorful cockerel. Last jew of the
monregalese community, led the factory through all the twentieth century, fascism, racial
laws, war, persecution, rebirth and deindustrialization. Man of great human depth, recognized
humility, tenacity and dedication to the work tradition and to its town.

Giorgio Levi

Giorgio Levi, triestino di nascita e pisano di adozione, è stato professore ordinario di Informatica fino al 2012: uno dei fondatori della prestigiosa scuola pisana, ricercatore noto a livello internazionale, insignito dell’ordine del Cherubino. Da anni collezionista di ceramica italiana del primo novecento, si è trasformato in studioso, dedicandosi alla riscoperta e valorizzazione di ceramisti, manifatture e distretti ceramici dimenticati o mai studiati in modo scientifico. Ha pubblicato 7 libri e curato 2 mostre.

One hundred years after his birth, the article would like to examine the artistic career of
Giorgio Cipriani (Venice, 1921- Florence, 1994). Drawing on the unpublished materials of
the Siena archive, we will retrace some stages of a figure undoubtedly forgotten but whose
path, instead, has intertwined well-known paths, ranging from ceramics (exhibited at the
IX Triennale di Milano in 1951), to fabrics art, created for companies of absolute excellence,
to the creation of decorative panels for the ships of the Lauro Fleet and up to the sets for
various Italian theaters (including Teatro S. Carlo, Naples, Teatro La Fenice, Venice, Teatro
alla Scala, Milan).

Giorgio Levi

Giorgio Levi, triestino di nascita e pisano di adozione, è stato professore ordinario di Informatica fino al 2012: uno dei fondatori della prestigiosa scuola pisana, ricercatore noto a livello internazionale, insignito dell’ordine del Cherubino. Da anni collezionista di ceramica italiana del primo novecento, si è trasformato in studioso, dedicandosi alla riscoperta e valorizzazione di ceramisti, manifatture e distretti ceramici dimenticati o mai studiati in modo scientifico. Ha pubblicato 7 libri e curato 2 mostre.

Edoardo “Dady” Orsi (1917-2003) has produced from the Sixties to the Nineties a large
number of reverse-glass paintings. This corpus constitutes a unicum in the context of Italian
art of the Twentieth Century. In the article, the particular connotation of Orsi’s work
as a cultured operation, although situated on the borderline between pure painting and
handicraft object, emerges on the basis of the comparison of Orsi’s work with the traditional
and folkloric reverse glass painting and the one practiced by naïf painters. We
examine the cultural background of the artist and his relationship with the craftsmanship
and design of glass between Venice and Milan in 900 (Aldo Carpi, Bottega di Pietro Chiesa,
Fontana Arte). Finally, we describe the particular poetics in which references to seventeenth-
century art, symbolism and metaphysics are declined in a “pre-post-modern” key.

Giorgio Levi

Giorgio Levi, triestino di nascita e pisano di adozione, è stato professore ordinario di Informatica fino al 2012: uno dei fondatori della prestigiosa scuola pisana, ricercatore noto a livello internazionale, insignito dell’ordine del Cherubino. Da anni collezionista di ceramica italiana del primo novecento, si è trasformato in studioso, dedicandosi alla riscoperta e valorizzazione di ceramisti, manifatture e distretti ceramici dimenticati o mai studiati in modo scientifico. Ha pubblicato 7 libri e curato 2 mostre.

The text analyzes the decorative interventions for architecture carried out by the Venetian
master of wrought iron, Umberto Bellotto (Venice 1882 - 1940), known mainly for the many
creations exhibited at the most important exhibitions of the time and, particularly, for
his combinations of different materials, the so-called “connubi” of iron and glass. Thanks
also to the iconographic support of a photographic collection from the artist’s archives,
now conserved at the Wolfsoniana in Genoa, an exhaustive panorama of the main works
created by Bellotto in Venice and on the Lido, from the beginning of his intense artistic
career, is thus proposed, offering a more comprehensive reading of the problems of architectural
design in the lagoon city during the first half of the 20th century.

Giorgio Levi

Giorgio Levi, triestino di nascita e pisano di adozione, è stato professore ordinario di Informatica fino al 2012: uno dei fondatori della prestigiosa scuola pisana, ricercatore noto a livello internazionale, insignito dell’ordine del Cherubino. Da anni collezionista di ceramica italiana del primo novecento, si è trasformato in studioso, dedicandosi alla riscoperta e valorizzazione di ceramisti, manifatture e distretti ceramici dimenticati o mai studiati in modo scientifico. Ha pubblicato 7 libri e curato 2 mostre.

This essay was written on the occasion of the centenary of the birth of Emanuele Luzzati
(Genoa 1921-2007), with the aim of providing an overview of his ceramic work. Better
known for his activity as a theatrical set designer and illustrator, the artist, between the
fifties and the early seventies of the twentieth century, created a large production, in collaboration
with Bartolomeo Tortarolo, known as “Bianco”, in his furnace of Pozzo Garitta,
in Albissola Marina.

Giorgio Levi

Giorgio Levi, triestino di nascita e pisano di adozione, è stato professore ordinario di Informatica fino al 2012: uno dei fondatori della prestigiosa scuola pisana, ricercatore noto a livello internazionale, insignito dell’ordine del Cherubino. Da anni collezionista di ceramica italiana del primo novecento, si è trasformato in studioso, dedicandosi alla riscoperta e valorizzazione di ceramisti, manifatture e distretti ceramici dimenticati o mai studiati in modo scientifico. Ha pubblicato 7 libri e curato 2 mostre.

In recent years, renewed attention has been paid to the promotion of decorative arts, materials
and craft techniques. Glass in its duality as a traditional and contemporary material
has enjoyed considerable success, thanks also to cultural events that have brought it back
to the centre of collective interest. In recent years, Milan, a historic exhibition centre with
the Triennials and a productive centre for the sector (especially glass, but not only), has regained
an active and central role in promoting glass from a design perspective, thanks to a
strong revival of cultural activities. The contribution traces the history of the link between
the Castello Sforzesco Museums and glass, highlighting the importance of the historical
collections and the new and recent acquisitions.

Giorgio Levi

Giorgio Levi, triestino di nascita e pisano di adozione, è stato professore ordinario di Informatica fino al 2012: uno dei fondatori della prestigiosa scuola pisana, ricercatore noto a livello internazionale, insignito dell’ordine del Cherubino. Da anni collezionista di ceramica italiana del primo novecento, si è trasformato in studioso, dedicandosi alla riscoperta e valorizzazione di ceramisti, manifatture e distretti ceramici dimenticati o mai studiati in modo scientifico. Ha pubblicato 7 libri e curato 2 mostre.

The design production of Salvatore Caronia Roberti (Palermo 1887 - 1970) in the field of furnishings and decorative arts is still little investigated today; this despite the fact that Caronia Roberti has long been considered the most authoritative exponent in Sicily of the so-called “School of Basile”. From the beginning of the Thirties, Caronia’s academic vocation assumes more and more complex values, avoiding what generically traditionalist had guided her emancipation from the modernist “manner”. The difficult synthesis between the desire to achieve unitary forms with austere plastic solidity, the underlying aspiration to an architecture of a higher cultural level and, ultimately, the composite ethosmonumentalist, who manifested himself with full control and determination in the 1930s, would also characterize all of his subsequent design production up to the 1960s. The ideal of “new classicism” pursued by Caronia Roberti (and theorized in her volume Introduction to the study of Architectural Composition, published in Palermo only in 1949) assumes, in its best applications, the value of the ordering parameter of a design logic aimed at perfect balance between the whole and the individual components, both on a formal and functional level. His creations of furniture and interior arrangements cover a time span that goes from late modernism, to Déco, to the twentieth century; but it was only in the Thirties that his collaborative relationships with artists and companies in the Decorative Arts sector took on particular connotations, also attributable to his maturation of an original design line marked by perceptive instances that reform his classicist vocation.

Giorgio Levi

Giorgio Levi, triestino di nascita e pisano di adozione, è stato professore ordinario di Informatica fino al 2012: uno dei fondatori della prestigiosa scuola pisana, ricercatore noto a livello internazionale, insignito dell’ordine del Cherubino. Da anni collezionista di ceramica italiana del primo novecento, si è trasformato in studioso, dedicandosi alla riscoperta e valorizzazione di ceramisti, manifatture e distretti ceramici dimenticati o mai studiati in modo scientifico. Ha pubblicato 7 libri e curato 2 mostre.

The essay deals with Adolfo De Carolis’ illustrations for Gabriele D’Annunzio’s tragedy Francesca da Rimini (1902). The first collaboration between the poet and the artist is the beginning of a long and fruitful partnership and represents one of the first Italian experiments of “Libro d’arte” (artistic book) as forerunner of the twentieth-century “Libro d’artista” (artist book). It is an exceptional edition, destined for a few lucky owners, a sui generis work of decorative art and a place of linguistic, iconographic, and iconological experimentation. At a closer look, the volume is actually an object destined to a real campaign of commercial promotion of D’Annunzio’s theatrical opera and of his person indeed, perhaps one of the first examples of what today on call “merchandising”. From a stylistic point of view, the book reveals the peculiarities of De Carolis’ language, based on a synthesis of English Arts and Crafts, Italian artistic tradition, and the study of the most famous of Renaissance incunabula, the Hypnerotomachia Poliphili (1499). It is precisely this attention to the past and to history that brings De Carolis to a position far removed from the European art nouveau in which historiography often places this decorative work and its author.

Giorgio Levi

Giorgio Levi, triestino di nascita e pisano di adozione, è stato professore ordinario di Informatica fino al 2012: uno dei fondatori della prestigiosa scuola pisana, ricercatore noto a livello internazionale, insignito dell’ordine del Cherubino. Da anni collezionista di ceramica italiana del primo novecento, si è trasformato in studioso, dedicandosi alla riscoperta e valorizzazione di ceramisti, manifatture e distretti ceramici dimenticati o mai studiati in modo scientifico. Ha pubblicato 7 libri e curato 2 mostre.

Staglieno Cemetery (Genoa) represents an emblematic case of the relationship between arts and industry at the turn of the nineteenth and twentieth centuries. According to a positivist point of view, industrial production becomes the means for a global intervention project concerning the reality from the building to furnishing. Applied arts take on a primary role and enjoy an extremely fortunate moment regarding quantity, quality and creativity of production. The dress of funerary furnishings is no exception: this is evident in the Genoese necropolis where the large number of artefacts still preserved and each of them different by type (lamp holder, crowns, vases...) and material (metal, marble, ceramic..) testifies the continuous evolution of the taste of the current time.

Giorgio Levi

Giorgio Levi, triestino di nascita e pisano di adozione, è stato professore ordinario di Informatica fino al 2012: uno dei fondatori della prestigiosa scuola pisana, ricercatore noto a livello internazionale, insignito dell’ordine del Cherubino. Da anni collezionista di ceramica italiana del primo novecento, si è trasformato in studioso, dedicandosi alla riscoperta e valorizzazione di ceramisti, manifatture e distretti ceramici dimenticati o mai studiati in modo scientifico. Ha pubblicato 7 libri e curato 2 mostre.