The essay concerns the research in progress on the archive of the engineer and architect Guido Costante Sullam (1873-1949) conserved by the Fondazione Musei Civici Veneziani. This is a heterogeneous documentary complex, produced and meticulously collected by Sullam during his professional, academic and institutional career. From here emerges one of the most interesting figures of the first half of the twentieth century in Venice not only for his professional production, but for the nodal role that he had in the transformation of the city and for his essential contribution in the transmission of knowledge, as well as in structuring of arts and crafts schools.

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 fountain created by Tomaso Buzzi to decorate the gardens of the decorative arts exhibition of the Royal Villa of Monza in 1930 was found in a square in Thiene. This study tells the constructive events and the history of its current location.

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 the period 1944-1957, Leoncillo dedicated himself to an intense decorative activity that was put in relation with the properly sculptural production. Small exegesis fueled by contemporary chronicles where the artist moves in the realm of craftsmen. The exhibition at the La Palma Gallery 1946, sponsored by Enrico Galassi, is commemorated, which triggers a debate between intellectuals and artists on applied arts. Leoncillo chooses a high and refined level in the applied arts towards an extension of the function to a public not only of bourgeois. An article on "Domus" for the exhibition in New York "The first exhibition at the Italian House of Crafts" with an examination of the Italian artistic craftsmanship (1946-1950) of 1948 is developed in the United States of America art-craft question (pure art and applied art). There are also reflections by Leoncillo of 1949 on the arts to be thought in architectural function to ask us about the value of the term "functional" used by the artist, and the relationship between modern architecture and sculpture. Examination on the panels for rooms from "Domus" 1949 (Sabaudia, Fano church of San Silvestro). Notes on sacred art, Fano altar and Church of Corte di Cerro.

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.

With a careful work of research, the biography and artistic career of Valentino Cavalieri (1896 – post 1963) is now accessible. Cavalieri was a talented ceramist, who worked in Duilio Cambellotti’s circle. Archival evidence shows that he was born in Civita Castellana, into a family of ceramists. After WWI he moved to Rome, where he fruitfully collaborated with Renato Bassanelli until the first half of 1926. When he was compelled to leave his laboratory in via Tor de’ Specchi because of the program of demolitions ordered by Mussolini to build the “Via del Mare”, he migrated to Argentina. In Argentina, he gained full recognition and his early, high quality works were awarded local prizes. He often collaborated with sculptor Luis Perlotti, “translating” some his works into ceramic artifacts.

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.

We reconstruct the events related to the glass factory M.V.M. created by Giacomo Cappellin and of its (quite generous) lenders, who are well-known public figures, strangers in the wold of artistic glass: Raffaello Levi, lawyer, refined intellectual, jewish, fascist and homosexual, with his wife Anna Maria Ravà, who will become a novelist of some success; Enrico Galvani, owner of an industrial empire including Ceramiche Galvani in Pordenone, one of the most important italian ceramic factories in the ’900; Piero Puricelli, Senator, builder of the first highway in the world and of most of the italian highways of the fascist era. Around them several protagonists of the artistic, political and cultural life of Venice in the twenties.

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 influence on Giacomo Balla of the experiments of Etienne-Jules Marey, of his studies on the movement of men and animals and their representation through chronophotography, is a still point of critical historiography on the great futurist. The same cannot be said of an artist who for Balla was a fraternal friend (even with family ties) and a companion of intellectual adventures: Duilio Cambellotti (1876-1860). In the wide literature on the polyhedric Roman artist, there is no clear and specific reference to how much of Marey's research can be found in the works in which Cambellotti experiments with the representation of movement, especially in the first decade of the century. Yet the comparison between these works and some of the elaborate images of the French scientist is so close, in some cases at the limit of the quote, that you cannot disregard direct inspiration. Especially since the chronological data - the works of Cambellotti in which the reference to Marey is evident are at least of 1907 - exclude the possibility of an indirect derivation from the research on the photodynamism of the Bragaglia brothers, which will not appear before 1915, and from the first essays futurists of the same Balla, which date back to 1912. Between the latter and Cambellotti it is quite likely to imagine, given the intense personal relationship and at least a significant artistic trace, a usual exchange on the themes solicited by Marey's research, which Balla certainly had present since the beginning of the century and therefore well before his meeting with futurism. But the first of the two to draw explicit and accomplished consequences on the artistic level was Cambellotti, who paradoxically to futurism has never joined, despite the pressing requests of Boccioni. The progressive-machinist emphasis of Marinetti's followers was too far from the cultural universe of the Roman artist, who in the chronophotography had mainly found an instrument of interpretation of nature.

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.