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Fornasetti: The Complete Universe – Rizzoli New York
This elaborate volume, authored by the designer’s son, is a splend celebration of one of the world’s most inventive design minds. Combining whimsy and …
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Fornasetti: The Complete Universe – AbeBooks: 0847835340
This elaborate volume, authored by the designer’s son, is a splend celebration of one of the world’s most inventive design minds.
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Fornasetti: the complete universe – Letu Books
Fornasetti: the complete universeBarnaba Fornasetti, Andrea Branzi Rizzoli, 2010 This elaborate volume, authored by the designer’s son, is a splend …
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Why is Fornasetti famous?
(Italian, 1913–1988)
Fornasetti is known for using a swath of fanciful motifs such as the sun, moon, playing cards, animals, and other Surrealist imagery. He is best known for the recurring face of opera singer Lina Cavalieri, using her image across numerous works, including a series of 350 individual plates.
Is Fornasetti Italian?
The production process has always been one of Fornasetti’s distinguishing features. All objects are made in Italy, strictly by hand, upholding a tradition of expert craftsmanship that makes each piece a true multiple of art.
Who designed Fornasetti?
An icon designing icons: the creative genius of Piero Fornasetti. Artist Piero Fornasetti was recognised as a master of many disciplines. He painted, he sculpted, he engraved, he decorated interiors, and, as such, is regarded as one of the most original creatives of the 20th century.
When was Fornasetti founded?
In the 1940s in Milan Fornasetti founded the design and decorative arts atelier that bears his name, Fornasetti, which, under the artistic direction of his son Barnaba Fornasetti, has become known throughout the world.
Who is the Fornasetti woman?
During World War II, he went into exile in Switzerland from 1943-46. He created more than 11,000 items, many featuring the face of a woman, operatic soprano Lina Cavalieri, as a motif. Fornasetti found her face in a 19th-century magazine.
Who owns Fornasetti?
Since 1988, the Fornasetti Atelier has been led by his son Barnaba Fornasetti. Under his artistic direction and guidance, Fornasetti has garnered international renown in the field of luxury design.
Is Fornasetti copyrighted?
It is in the public domain there because its copyright term has expired.
How many Fornasetti plates are there?
Fornasetti Today
Today Fornasetti’s unconventional aesthetic style is stronger and more alive than ever before and still never ceases to surprise. Today the custodian of his inheritance, which comprises more than 11,000 different motifs, is his son, Barnaba, with whom he worked in the 1980s.
Is Fornasetti copyrighted?
It is in the public domain there because its copyright term has expired.
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Fornasetti: The Complete Universe
This elaborate volume, authored by the designer’s son, is a splendid celebration of one of the world’s most inventive design minds. Combining whimsy and elegance, Piero Fornasetti (1913–1988) transformed everyday objects like cups, scarves, and screens into works of art featuring his idiosyncratic leitmotifs, such as the hand, the female face, and luminescent fish. Additionally, he created a wide range of works, including idealized architectural fantasy drawings, book designs, and provocative nudes, as well as the decor for the luxury liner Andrea Doria. Perhaps most famous for dazzling pieces of trompe l’oeil furniture, Fornasetti was rediscovered in the 1980s and has remained much sought-after by collectors worldwide. Featuring 2,800 illustrations, many never before published, the monograph is designed to be an “artist’s book” that reflects as faithfully as possible Fornasetti’s own approach to design. Fornasetti’s work is organized by type and includes paintings, sculptures and etchings, furniture, graphics, textiles, glass, screens, trays, and ceramics, as well as smaller categories. With unique and exhaustive access to the archives, this epic undertaking covers detailed technical, biographical, and bibliographical information, including a list of exhibitions and a register of the complete works. A must-have for collectors and connoisseurs alike.
9780847835348: Fornasetti: The Complete Universe
This elaborate volume, authored by the designer’s son, is a splendid celebration of one of the world’s most inventive design minds. Combining whimsy and elegance, Piero Fornasetti (1913–1988) transformed everyday objects like cups, scarves, and screens into works of art featuring his idiosyncratic leitmotifs, such as the hand, the female face, and luminescent fish. Additionally, he created a wide range of works, including idealized architectural fantasy drawings, book designs, and provocative nudes, as well as the decor for the luxury liner Andrea Doria. Perhaps most famous for dazzling pieces of trompe l’oeil furniture, Fornasetti was rediscovered in the 1980s and has remained much sought-after by collectors worldwide. Featuring 2,800 illustrations, many never before published, the monograph is designed to be an “artist’s book” that reflects as faithfully as possible Fornasetti’s own approach to design. Fornasetti’s work is organized by type and includes paintings, sculptures and etchings, furniture, graphics, textiles, glass, screens, trays, and ceramics, as well as smaller categories. With unique and exhaustive access to the archives, this epic undertaking covers detailed technical, biographical, and bibliographical information, including a list of exhibitions and a register of the complete works. A must-have for collectors and connoisseurs alike.
“synopsis” may belong to another edition of this title.
Fornasetti®
Fornasetti was founded in the vibrant Milan of the post-war period as a creative mirror of its founder Piero Fornasetti, a multi-faceted artist whose relentless creative flair earned him a place among the most prolific Italian figures of the twentieth century.
Precious porcelain, sophisticated pieces of furniture and furnishing accessories have always formed the heart of the Atelier’s irrepressible creative variety, which spans art and design: conversation pieces, visions to contemplate, but at the same time objects to be used. This is Fornasetti’s great insight, his so-called “practical madness”: to put beauty and creativity at the service of utility.
Behind the Brand: Fornasetti
Few brands out there are instantly recognisable before you’ve even laid eyes on its logo, but luxury decor brand and Italian icon Fornasetti is one of them. Known for its graphic, monochromatic designs that depict interpretations of architectural triumphs or quirky anatomical drawings, to own one of its pieces is to own a piece of bona fide Italian history. But where did it all begin? Who or what have been its greatest muses? And what is there to say of its enigmatic founder, artist Piero Fornasetti?
An icon designing icons: the creative genius of Piero Fornasetti
Artist Piero Fornasetti was recognised as a master of many disciplines. He painted, he sculpted, he engraved, he decorated interiors, and, as such, is regarded as one of the most original creatives of the 20th century. So diverse was Fornasetti’s work, he could never be put into a specific box for his pieces crossed such a number of movements that some viewed his art as a movement in its own right.
Known too as a rebel, Piero was expelled from the first fine art school into which he’d enrolled himself and struggled to settle into scholarly life at the second. Instead he read, he researched and found other ways to broaden his horizons. In the 1930s he devoted himself to the study of engraving and printing, working with some of Italy’s finest artists and even inventing a printing technique for silk scarves.
The 1930s also led him to Gio Ponti with whom he developed a close, creative partnership that involved interior decoration for homes, hotels and cinema auditoriums. This partnership paved the way for the Fornasetti brand to come. Without Ponti, perhaps Fornasetti wouldn’t be the institution that it is today for it was Gio who helped to bring Piero’s graphic patterns and spatial illusions onto the surfaces that today make up his commendable collections.
The heartland of art and design: Fornasetti’s humble beginnings
1950s Milan—the period and the place that claim the Fornasetti atelier’s founding moment. Just two years later one of his greatest art series would begin, Tema e Variazioni. This series would establish his homeware brand as one of the greatest in Italy’s history.
Today, there are more than 11,000 creations to Piero Fornasetti’s name, with his legacy living on through his son Barnaba who has kept the brand’s atelier in the very city that started it all.
Where irony meets imagination: the stories behind the designs
Whether it’s his furniture line or assortment of home accessories, there exists not a Fornasetti creation that isn’t overflowing with intrigue. Or ‘practical madness’ as the artist put it himself. While his hand and his trademark monochrome palette make his pieces quickly recognisable, it’s Fornasetti’s fascination with one particular figure that surely distinguishes his creations most of all.
Piero Fornasetti’s ultimate muse was Italian operatic soprano Lina Cavalieri whose hypnotic gaze follows you from piece to piece. On the Lux Gstaad dining chair, the seat back is that of Cavalieri’s face and neck shrouded by a pom-pom-topped ski mask; on tissue box covers her facial features look back at you in the playful way that pop art allows; on waste paper baskets it is her forearm and palm that reach out into the room. To Fornasetti, she was perfect; he described her as being classically beautiful in the same way that a Greek sculpture is. There are 350 pieces in total that display her face with the original ceramic plate collection (that has been translated to wallpapers, textiles and candles aplenty) being the most iconic.
Greek and Roman architecture inspired Fornasetti greatly too, as did astronomy (peep his Astronomici Bianco Candle), but he was always adamant that his eye travelled across time rather than being anchored in any specific era.
“I do not believe in eras or times. I do not. I refuse to establish the value of things based on time. I do not set boundaries and nothing is too esoteric to inspire me. I want to free my aspirations beyond the limits of the ordinary.” Piero Fornasetti was certainly a man ahead of his time.
Handmade in Milan
Expensive candles are just one aspect of Fornasetti’s collections. There are beguiling jade green malachite side tables, folding lithographic-printed screens showcasing hot air balloon strewn landscapes… Any and every Fornasetti design is made by hand in its Milan studio. In the case of its collectible candles, the ceramic vessels are handmade, the designs hand-drawn, the wax hand-poured and the fragrances hand-selected by a collective of esteemed perfumers using a sublime palette of ingredients. The level of craftsmanship that comes out of its atelier is as significant to the brand’s story as the art that decorates it.
Beyond Milan, the house of Fornasetti collaborates with a few strictly chosen partners such as Cole & Son who offer Fornasetti wallpapers; Cermaica Bardelli—responsible for crafting classic Fornasetti tiles; Roubini who distribute artisan rugs with original designs by Piero Fornasetti; and fragrances such as Otto are the work of Olivier Polge—the master perfumer at Chanel.
As Seen In
From the earliest interiors decorated by Piero Fornasetti, such as the Casino of Sanremo and the first-class cabins of transatlantic liners like the Andrea Doria, to modern-day hotel suites—the most famous of all being the Fornasetti Suite at the Milan’s Mandarin Oriental that’s bedecked with Riflesso wallpaper in the living area and the Chiavi Segrete wallpaper in the bedroom—it goes to show there’s much more to this brand than a pretty face.
Piero Fornasetti
Italian sculptor
Piero Fornasetti (Milan, 10 November 1913 – Milan, 15 October 1988) was an Italian artist and designer.
Biography [ edit ]
Piero Fornasetti was born in 1913 into a well-off.[1] middle-class family in Milan. A multifaceted figure in the Italian art scene of the twentieth century, Fornasetti was active as a designer, decorator, painter, curator and printer. His works – produced in series but in limited numbers – characterise his eclecticism within the Italian culture of design.[2][3] During his artistic career, he created over 13,000 works,[4][5] including a vast production of 20th century objects and furniture, especially in terms of diversity of decorations. Art critic and collector Patrick Mauriès said:
“It’s rare to see such happiness in the act of making and producing, such a sweeping vision, free of any shadow of conflict in the moment of creation: a serene epiphany, an outpouring of inventions.”[6] Patrick Mauriès
In the 1940s in Milan Fornasetti founded the design and decorative arts atelier that bears his name, Fornasetti, which, under the artistic direction of his son Barnaba Fornasetti, has become known throughout the world.[7] One decisive factor in starting this activity was meeting Gio Ponti,[8] who pushed him to develop his intuition: to produce everyday objects enriched by the kind of decoration that would bring art into ordinary people’s homes. This was the origin of the Fornasetti atelier, an example of the principle of “practical madness”,[9] where creativity is in perfect harmony with the utility of the object. Then as now, porcelain items, furniture and furnishing accessories represented the heart of Fornasetti’s production.
The choice to work with everyday objects is not accidental. Fornasetti constantly sought reproducibility in series in his works, explaining this choice in terms of democratic and technical principles.
It has always been my notion not to make one-off pieces, but series of items.[10] — Piero Fornasetti
Even in this climate of seriality, the theme of “variations” is central to the artist’s activity, reaching its greatest importance in the Tema e Variazioni series. These are the works inspired by the face of Lina Cavalieri, Piero Fornasetti’s long-term muse. To date there are over four hundred variations, extended and expanded by the work of the Fornasetti atelier.
Fornasetti’s work straddles different media, from furniture to paintings by way of tapestries and fashion, applied to a diverse variety of surfaces but maintaining a particularly coherent stylistic code. This eclecticism gained admirers of equally diverse origins: Pablo Neruda defined him as “a magician of precious and precise magic”,[11] while Bruno Munari affirmed that “Fornasetti can only be measured by the yardstick of Fornasetti”,[12] affectionately seeking to underline his artistic uniqueness.
Childhood and education [ edit ]
Piero Fornasetti spent his childhood in the apartment building built by his father Pietro, in the Città Studi district, where at the time the city ended and the fields began. The first child in a wealthy bourgeois family, he found himself facing a seemingly predetermined future: his father, an entrepreneur, had decided that Piero would follow in his footsteps, taking on the family business. Contrary to family expectations, Piero displayed an innate artistic inclination. Of this period he would say:
I will never forget the thrill when, as a boy, one summer morning on the lake, for the first time my pen began to trace the outline of a leg, then a body, then a face. I was astonished, ecstatic and in awe of this miracle, and am still always amazed every time at this blossoming of the image I have inside me, emerging all by itself from the page…[13]
Together with his penchant for drawing, Fornasetti also soon revealed his tough, determined character,[14] demonstrating his resolve to pursue his aspiration. In 1932 he enrolled at the Brera Academy but was expelled two years later for insubordination.[15] He then moved on to the Higher School of Applied Arts in Industry at the Castello Sforzesco, also in Milan, where he completed his schooling.
The Thirties: the art printworks [ edit ]
In the early Thirties, Piero began a phase of studying engraving and printing techniques. This constant practice allowed him to work with various artists of the time, printing artist’s books and lithographs for them. From Alberto Savinio to Fabrizio Clerici, by way of Giorgio de Chirico, Massimo Campigli, Lucio Fontana, Michele Cascella, Eugene Berman, Raffaele Carrieri and Carlo Bo:[16] the Fornasetti Art Printshop became a benchmark for many artists of his generation. “He was the first to print De Chirico lithographs in Milan, some considerable time ago”, wrote Raffaele Carrieri in Epoca in 1978.
Through constant experimentation in the field of printing, Fornasetti was able to obtain unique graphic effects on silk scarves. In 1940 he proposed a series of them at the VII Triennale di Milano, which was rejected because it was off-topic. The proposal, however, earned him the attention of Gio Ponti, with whom years later he would enter into a very close creative partnership. The two of them were aligned not only on the definition and importance of decoration and the cultural heritage that it implies, but also on the whole notion of architecture, the relationship between man and his environment.
The Forties: the War and working with Gio Ponti [ edit ]
Fornasetti al lavoro nel suo atelier, Milano , Milano
Thanks to the experience he had acquired and his passion for printing, from the 1940s onwards Piero created a series of limited edition graphic works. Calendars, gifts, advertising images, theatre programs, posters and magazine covers. Editorial concepts designed and produced on commission or for pleasure, expressing in various forms his conception of formal elegance and his vision of the world.
In this period (along with Filiberto Sbardella, Aligi Sassu, and others)[17] he produced various sketches and drawings for the Esino Lario School of Tapestries. From 1939 he began to publish his works in the design and architecture magazine Domus, edited at the time by Gio Ponti. From 1940 to 1942 he designed almanacs on the commission of Gio Ponti himself. The first three almanacs, small publications designed and printed using previously unpublished themes, which started life as Christmas gifts, would inspire a longer series beginning immediately after the war and ending in 1950.
Poster of the Caligula tragedy drawn by Fornasetti
On paper, ideas were born, themes emerged, and characters were defined for a variety of subjects. At the origin of Fornasetti’s success, and its furniture and objects, was precisely that production of graphic images and drawings that represent its stylistic code.
Called up on the outbreak of war, Piero initially managed to stay in Milan by procuring the job of decorating the Sant’Ambrogio barracks.[18] Later, in 1943, he took refuge in Switzerland, where he continued his artistic research and produced posters and lithographs for theatrical events and magazines.[19] This period represented an unprecedented opportunity for him, during which he created oil portraits, watercolours, drawings in Indian ink, ink and ballpoint pen, devoting himself to the study of the human body, which he would later draw on in his production of decorative graphic arts. During the same period he created the sets and some promotional materials for Albert Camus’ Caligula directed by Giorgio Strehler.
This is the period when his relationship with Gio Ponti also became closer. Their work together, which, on his return to Milan, would produce important concepts of interiors and furnishing, design and decoration for houses, apartments, ship cabins or cinema auditoria,[20] was so felicitous that it would eventually induce Gio Ponti to declare:
“If one day they write my life story, they’ll have to call one of the chapters ‘Passion for Fornasetti’.” — Gio Ponti
The Fifties: Lina Cavalieri and the “Tema e Variazioni” series [ edit ]
With the advent of the Fifties, the creative duo of Ponti and Fornasetti were able to put their point of view into practice: a home interior and furnishing style that they had long been promoting in theory. A method that envisages “the specific functionality of rooms and furniture, the simplicity and sincerity of forms and materials”, the worship of sun, air, and light, and unity of aspiration for all social categories.”
Fornasetti’s design for the Andrea Doria ocean liner, 1952
At the beginning of those years the couple designed and decorated the “Architettura” trumeau, exhibited at the IX Triennale in 1951 and then auctioned in 1998 at Christie’s for fifteen thousand dollars. A second original from 1951 is currently on display at the Victoria and Albert Museum in London. The “Architettura” trumeau aims to represent the interaction of modern and ancient, rationalism and the Renaissance, architecture and furniture, structure and decoration, and over time has become one of the icons of Fornasetti’s work during the interwar years and the economic boom.[21]
Contrasting unused rooms and traditional houses with the reduced living spaces of the modern age, the two furnished and decorated the Sanremo Casino (1950), an entire apartment that became famous as a symbol of their style, the private home Casa Lucano[22] (1951), and the first-class cabins and lounges of ocean liners such as the Andrea Doria (1952).
In 1952 Piero began working on what would later become his most famous and iconic series: “Tema e Variazioni”. Starting from a portrait of a woman seen in a magazine from the late nineteenth century, he began a representational study that would accompany him throughout his life. The subject was the face of Lina Cavalieri, an opera singer who lived at the turn of the 19th and 20th centuries and who was celebrated as the most beautiful woman in the world. At that time, Lina Cavalieri represented an archetype of enigmatic, classical beauty that Fornasetti reinterpreted by means of over 400 “variations”. Alluring, mysterious, amazed, seductive, with a mustache, glasses, crown or balaclava: over time the face of Lina Cavalieri became the emblem of Fornasetti and his art. Thus was born the “Tema e Variazioni” series, which continues today to be reproduced today by his son Barnaba Fornasetti on a series of everyday objects, not only porcelain, but also furniture and accessories, in new variations. The series has won over a large audience of writers and intellectuals: Alberto Moravia dedicated a text to the infinite variations of Lina Cavalieri’s face, while in 1971 Henry Miller chose one of the decorations of the series on the cover of his autobiography “My Life and Times”.[23]
Tema e Variazioni decorative plates
In 2016, the first 100 illustrations from the series were collected in a prestigious, completely handmade, limited edition volume.[24] During the same year, the series made its entrance to the world of theatre, becoming part of the set of “Don Giovanni”, the Mozart opera presented and produced by Fornasetti.[25]
Over the same period, in parallel with the development of his personal iconography applied to everyday objects, Fornasetti’s artistic evolution progressed. 1958 saw the creation of “Stanza metafisica” (“Metaphysical Room”), a work composed of thirty-two hinged, wheelless doors, designed to form a congenial space for meditation, an early example of an artistic installation, first presented at the exhibition at the Tea Centre in London.
The Sixties and Seventies: a new cultural climate [ edit ]
At the end of the Sixties, the cultural climate changed. The affirmation of rationalism and function over form seemed to leave little room for the concept of decoration.[26] Fornasetti struggled to align himself with the new logic of the market and industrial production.[26] The difficulties encountered in this period also led to a cooling in relations with Ponti, who reproached Fornasetti for being unable to reinvent himself.[26]
In this same period, Piero succeeded in shaping the conceptual side of his approach. In the Seventies he opened a space that offered him a way of giving continuity to his work with other instruments: in 1970, together with a group of friends, he ran the Galleria dei Bibliofili, where he exhibited both his own work and that of contemporary artists. Piero began drawing again. The figures, heads, faces, and bodies made of bottles or fruits remained to herald his new pictorial style, alongside abstract compositions that highlighted an unexpected fascination for layers, interactions of colour and different techniques.[27]
The Eighties : rediscovery and the London gallery “Themes and Variations” [ edit ]
In 1984 the “Themes & Variations” gallery opened in London,[28] on the initiative of Liliane Fawcett and Giuliana Medda, which also revived interest in Fornasetti’s work overseas, where he was already known. His oeuvre began to be rediscovered beyond the ideological contrasts of form/function and ornament/utility, and in 1987 Piero collaborated with Patrick Mauriés on the first monograph of his work, accompanied by an introduction by Ettore Sottsass. The book was published posthumously – Piero Fornasetti died in 1988 during a minor operation in hospital. After Piero’s death in October 1988, his son Barnaba Fornasetti kept a part of his father’s activity going.
Ettore Sottsass on Fornasetti “I believe that Fornasetti one day, when he was young, had an incredible vision. I do not know if it was during the day or at night, but he must have seen, all of a sudden, the whole world, all the deposits of figures and memories, being blown to pieces (…). He seems to have decided that if there was nothing left on the ground but a layer of debris and broken stuff, and if that was the only floor on which to walk, if he was obliged to walk on the soft ground of a sort of shapeless dump of fragments, shards, and symbols without context, then he, Fornasetti (…) would rebuild the world. (…) I believe that for Fornasetti it was a bit like this: that the set of people, animals, stones, mountains, trees, skies, rains, monuments, cemeteries, and other objects, which in our minds is organised into what we call the world, for him it had really all been blown to pieces. (…) Possessed of this immense baggage of figures and pieces of well-chosen, rigorously controlled and reorganised metaphors, in the end Fornasetti began to (..) draw this great, vast, poetic, infinite new metaphor.” Ettore Sottsass, Ettore Sottsass, in Patrick Mauriès, “Fornasetti. Practical Madness ”, Thames and Hudson Ltd, 1991
The Fornasetti style [ edit ]
“I also consider myself the inventor of the tray, because at a certain point in our civilisation people no longer knew how to hand over a glass, a message or a poem. I was born into a family with the worst kind of good taste, and I make terrible good taste the key to the liberation of the imagination.” (Piero Fornasetti, “Certain screens have been designed twice”)[29]
Following the rediscovery of Italian classicism promoted by the Novecento Italiano artistic movement of the time, Fornasetti’s work was inspired on the one hand by Piero della Francesca,[30] Giotto, and Renaissance frescoes, and on the other by metaphysical painting.[3] These two worlds come together in Fornasetti through the virtuosity that distinguished his artistic activity.[5]
Fornasetti’s style is full of theatricality,[31] an invitation to the imagination, trying to push those who observe his objects, as well as those who use them, to take a journey of the mind[29]}}.
In this sense he was inspired by the words of Curzio Malaparte, who he knew through Giò Ponti, and whom he quoted saying: “The important thing is to travel, to move, to meet people, to see things, but above all to do so with no predetermined plan… the important thing is not knowing how to create, invent, write, but knowing how to deduce, that is, knowing how to start from one thing, anything, and derive from it a multitude of others… Basically, nothing is invented, it is only deduced.”
The medium of design represented a kind of notepad for him, useful for not forgetting a suggestion. Suggestions that usually arose either from the casual juxtaposition of two contradictory orders of reality, or from reflections on surrealism and Giorgio de Chirico’s metaphysical painting.
Despite the success of the furniture and ceramics he created from the fifties, it was in drawing that Fornasetti believed he could make an innovative impact. The artist’s distinctive style was very much of its time, and followed the natural movement of the hand, fixing the idea with simplicity, with immediacy. This conception can be linked to the influence of Picasso’s Ingres period.
For Fornasetti the legacy of the great Italian tradition lay precisely in drawing, in the daily practice of sketching and copying. Rigour and simplicity of style were the fundamental antidote against the narcissism of the end of the 19th century that he detested. The design of objects, therefore, represents only one stage of his artistic journey.
Works (partial) [ edit ]
As already mentioned, Fornasetti’s work was particularly prolific, consisting of tens of thousands of items. Below we offer just a short list.
Curved glass cabinet, designed by Gio Ponti and produced by Fontana Arte, 1939-40
All’insegna delle dodici mani, commissioned by Gio Ponti, 1940
Almanac for 1941, commissioned by Gio Ponti, 1941
Il lunario del Sole, commissioned by Gio Ponti, 1942
Frescoes of Palazzo del Bo, Padua, 1942
Decorative motifs commissioned by Gio Ponti, VIII Triennale di Milano, Milan, 1947
Interior of the Sanremo casino, 1950
Farfalle chair and desk, decorated to a design by Gio Ponti, 1950, Vitra Design Museum
Interior of the “Dulciora” pastry shop in Milan, 1950
Sole lacquered chair , 1950. The chair, with its very geometric and stylised shape, is available in only one color: yellow in strong contrast with the black legs.
Leopardo chest of drawers and Palladiana chest of drawers, early 1950s
Interiors of “Casa Lucano”, 1951 , one of the first examples of complete interior design
Architettura trumeau, designed with Gio Ponti, 1951, Victoria & Albert Museum
Il pranzo in piedi, 1951, Triennale Design Museum
Interior of the ocean liner “Andrea Doria”, 1952
Interior of the ocean liner “Conte Grande”.
Tema e Variazioni plate series, 1952 – 1953
Adamo ed Eva plate set, 1954, Houston Museum of Fine Arts, Houston
Stanza metafisica (Metaphysical Room), 1958
Bibliography [ edit ]
“The European” no. 6 – December 2007 – special issue for Triennale Design Museum – RCS Periodici spa Fornasetti, designer de la fantaisie, Patrick Mauriès, Thames & Hudson, 2006 Fornasetti: The Complete Universe, by Mariuccia Casadio, Barnaba Fornasetti and Andrea Branzi, Rizzoli, 2010, ISBN 0847835340
Fornasetti – ‘The Complete Universe’ book
This elaborate volume, authored by the designer’s son, is a splendid celebration of one of the world’s most inventive design minds. Combining whimsy and elegance, Piero Fornasetti (1913–1988) transformed everyday objects like cups, scarves, and screens into works of art featuring his idiosyncratic leitmotifs, such as the hand, the female face, and luminescent fish. Additionally, he created a wide range of works, including idealized architectural fantasy drawings, book designs, and provocative nudes, as well as the decor for the luxury liner Andrea Doria. Perhaps most famous for dazzling pieces of trompe l’oeil furniture, Fornasetti was rediscovered in the 1980s and has remained much sought-after by collectors worldwide. Featuring 2,800 illustrations, many never before published, the monograph is designed to be an “artist’s book” that reflects as faithfully as possible Fornasetti’s own approach to design. Fornasetti’s work is organized by type and includes paintings, sculptures and etchings, furniture, graphics, textiles, glass, screens, trays, and ceramics, as well as smaller categories. With unique and exhaustive access to the archives, this epic undertaking covers detailed technical, biographical, and bibliographical information, including a list of exhibitions and a register of the complete works. A must-have for collectors and connoisseurs alike.
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Fornasetti: The Complete Universe
This elaborate volume, authored by the designer’s son, is a splendid celebration of one of the world’s most inventive design minds. Combining whimsy and elegance, Piero Fornasetti (1913–1988) transformed everyday objects like cups, scarves, and screens into works of art featuring his idiosyncratic leitmotifs, such as the hand, the female face, and luminescent fish. Additionally, he created a wide range of works, including idealized architectural fantasy drawings, book designs, and provocative nudes, as well as the decor for the luxury liner Andrea Doria. Perhaps most famous for dazzling pieces of trompe l’oeil furniture, Fornasetti was rediscovered in the 1980s and has remained much sought-after by collectors worldwide. Featuring 2,800 illustrations, many never before published, the monograph is designed to be an “artist’s book” that reflects as faithfully as possible Fornasetti’s own approach to design. Fornasetti’s work is organized by type and includes paintings, sculptures and etchings, furniture, graphics, textiles, glass, screens, trays, and ceramics, as well as smaller categories. With unique and exhaustive access to the archives, this epic undertaking covers detailed technical, biographical, and bibliographical information, including a list of exhibitions and a register of the complete works. A must-have for collectors and connoisseurs alike.
Fornasetti: the complete universe
summer break: orders placed from August 11th until August 30th will be shipped on September 1st. Thank you!
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