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Bruno Munari and the invention of modern graphic design in Italy, 1928–1945 Proefschrift ter verkrijging van de graad van Doctor aan de Universiteit Leiden op gezag van Rector Magnificus prof. mr. P.F. van der Heijden volgens besluit van het College voor Promoties te verdedigen op donderdag 19 mei 2011 klokke 13.45 uur door Alessandro Colizzi geboren te Rome (Italië) in 1966 Promotiecommissie Promotor: Prof.dr.h.c. G. Unger Co-promotor: Prof.dr. T.M. Eliëns Overige leden Prof.dr. R. D’Alessandro Prof.dr. W. Crouwel (TU Delft) Prof.dr. P.G. Hoftijzer Prof.dr. T.R.A. de Rijk (VU Amsterdam) Prof. F.C. de Ruiter Bruno Munari en de oorsprong van de moderne grafische vormgeving in Italië, 1928–1945 Ondanks de moeilijke omstandigheden de stijlontwikkeling van Munari poogt deze 3 onder het fascistische regime, ontdekte Ita- studie de wisselwerking te onderzoeken lië zijn eigen vorm van Modernisme in het tussen de Futuristische visuele vormtaal en prille begin van de jaren dertig. Het was het de ideeën ontleend aan architectuur, foto- resultaat van een veelzijdige wisselwerking grafie, abstracte schilderkunst en de func- tussen een aantal factoren: de opkomst tionele typografie uit Noord Europa. Deze van de reclame, de druk en vitaliteit van studie plaatst de ontwerper in zijn tijd en het Futurisme en het debat rond de ratio- omgeving door zowel aandacht te schenken nalistische architectuur. Deze studie on- aan het bredere culturele kader als aan het derzoekt het werk, tussen het eind van de eigenlijke werk. jaren twintig en het midden van de jaren De studie onderzoekt en beoordeelt veertig (eind van de tweede wereldoorlog), ook de basis van Munari’s reputatie tegen van Bruno Munari als grafisch ontwerper, de achtergrond van een grote hoeveelheid met de bedoeling om de oorsprong van die bronnenmateriaal. Het is de eerste uit- modernistische beweging in Italië en zijn gebreide en gedetailleerde presentatie en eigenheden, beter te begrijpen. Deze eigen studie van Munari’s grafische productie ontwerpcultuur die zich aanvankelijk in en is zodoende een belangrijke basis voor Milaan ontwikkelde bracht op een eclec- een beter en vollediger begrip van zijn werk. tische manier twee verschillende, moder- Terwijl de evolutie van Munari’s werk chro- nistische bewegingen samen. Aan de ene nologisch is behandeld, onderstreept de kant de plaatselijke tradities, vertegenwoor- analyse van het grafische werk de gebieden digd door de Futuristische avant-garde, en die van visueel belang zijn. Op die manier een Europese traditie die aansloot bij het geeft de studie een afwisselende kijk op Constructivisme. Munari (1907–1998) de onderliggende poëtische, thematische werkte gelijktijdig als kunstschilder en als en formele kenmerken. De grote verschei- reclameontwerper. Aanvankelijk deelde denheid in Munari’s werk geeft niet al- hij de brede culturele belangstelling van leen meer inzicht in de manier waarop de Futuristen, maar niet zonder een zekere modernistische ideeën werden ontvangen openheid voor andere bewegingen zoals het en opgenomen in het Milaan van de jaren Dadaïsme en het Surrealisme, om uitein- dertig, maar ook in de manier waarop het delijk aan te sluiten bij de Abstracten. Hij vakgebied evolueerde van een beweging was een exponent van het nieuwe recla- die aanvankelijk bij de avant-garde kunst mevak en zijn werk getuigt dan ook van de hoorde tot het moderne begrip van grafisch evolutie van het vakgebied, met een grote ontwerp gebaseerd op rationele veronder- verscheidenheid aan referenties, ambities stellingen en idiomen. Het is dan ook geen en begrenzingen. Door zich te beperken tot toeval dat Munari één van de leidende figu- ren is geworden van het Italiaans grafisch ontwerpen dat na 1945 tot ontplooiing kwam en waarvan de oorsprong alleen kan worden gevonden in de verscheidenheid van die culturele erfenis. Bruno Munari and the Invention of Modern Graphic Design in Italy, 1928–1945 Despite the difficult political conditions from central and northern Europe. Hence, 4 under the Fascist regime, Italy saw its own the discussion positions the designer in modernist wave hit the commercial arts in his time and place, concentrating as much the 1930s, resulting from a complex inter- on the artefacts as on the broader cultural play of factors as diverse as the weight of framework. Futurism, the rise of advertising, and the Secondly, the study attempts to assess debate surrounding Rationalist architec- Munari’s reputation against a body of ex- ture. This research examines Bruno Mu- emplary work, based on firsthand docu- nari’s work as a graphic designer from the mentation. It is the first extensive, detailed late 1920s to mid-1940s, with the aim of record of Munari’s graphic design output, understanding the emergence and char- and as such provides a substantial base for acteristics of the modernist trend in Ital- a full understanding of his œuvre. While ian graphic design. Taking shape in Milan, Munari’s evolution is dealt with chrono- this original ‘design culture’ eclectically logically, the analysis of his graphic works brought together two quite different strains highlights key areas of visual interest, of- of Modernity: a local tradition repre- fering a cross reading that sheds light on sented by the Futurist avant-garde, and a their underlying poetics, themes, and for- European tradition associated with Con- mal attributes. In its trajectory, Munari’s structivism. Munari (1907–1998) worked wide-ranging graphic design work shows simultaneously as painter and as advertis- how modernist ideas were received and as- ing designer: he debuted with the Futurists, similated in the Milanese environment of whose broader cultural reach he shared, the 1930s, as well as the shift in concep- while also remaining open to other cur- tions of the graphic design profession— rents—such as Dadaism and Surrealism— from one related to avant-garde art practice and ultimately aligned himself with a more to a Modern one, based on rational idioms. Abstractionist stance. Insofar as he was an The roots of modern Italian graphic de- exponent of the new advertising profes- sign, which fully emerged after 1945, can be sion, his design work also reflects its evo- traced to this heterogeneous legacy—and it lution, mixed references, aspirations, and is no coincidence that Munari became one limits. Concentrating on Munari’s stylistic of the fields’ leading exponents. development, the study seeks to explore the interaction between the Futurist visual vo- cabulary and conceptions coming from ar- chitecture, photography, abstract painting, and functionalist typography trickling in Acknowledgements 4 This research draws primarily on printed Danese, Maria Fede Caproni, Anna Steiner, 5 reproductions of Munari’s work as well as Aldo Tanchis, Alberto Bassi, and Giovanni a number of original artefacts from the in- Anceschi for their unflagging confidence in terwar years, which are available in public my work. libraries and in private collections. Pictori- Nor could it have been completed al and bibliographical research was carried without the courteous assistance of the out during holiday periods spent in Italy following institutions, whose staff facili- between 2005 and 2010, and in particular tated my efforts by allowing me to study during a study leave from the Université and reproduce documents in their collec- du Québec à Montréal in the course of the tions. Although the list of individuals who academic year 2007–08, for which I am aided my research at each institution is too most grateful. long to include here, my gratitude goes to them all: The study builds on the contributions of several writers who have studied Bruno Archivio Documentale Tullio d’Albisola, Casa Mazzotti, Albissola Munari over the years, and in particular Archivio del Novecento, Rome on the outstanding scholarship of Aldo Archivio di Stato, Milan Tanchis, Marco Meneguzzo, Andrea Bran- Archivio Einaudi presso l’Archivio di Stato & Einaudi Editore, Turin zi, Giorgio Maffei, Luigi Di Corato, and Archivio Albe e Lica Steiner, Milan Jeffrey T. Schnapp. I owe special thanks Archivio Storico Campari, Milan to Roberto Ravaioli and Riccardo Lascial- Archivio Storico Edison, Milan Archivio Storico Olivetti, Ivrea fari for their expert advice that set me on Archivio Storico Pirelli, Milan the right track from the very beginning. Bibliomediateca Rai, Centro di documentazione This project could not have been real- Dino Villani, Turin Biblioteca Apice, Università degli Studi, Milan ized without the cooperation of several Biblioteca Braidense, Milan public and private institutions and librar- Biblioteca comunale Sormani, Milan ies, and individuals who generously opened Biblioteca d’Arte del Castello Sforzesco, Milan Biblioteca di via Senato, Milan their collections and archives or shared Biblioteca Nazionale Centrale, Florence their recollections and views. I would like Biennale di Venezia, Archivio storico to express my sincere gratitude to (in no delle arti contemporanee, Venice Camera di Commercio, Milan particular order) Giorgio Maffei, Massi- Centro per la cultura d’impresa, Milan mo Cirulli, Giancarlo Baccoli, Pasqualino Centro Studi e Archivio della Comunicazione Schifano, Giorgio Lucini, Anna Boggeri Università di Parma, Parma Centro Studi Gianni Rodari, Orvieto and Bruno Monguzzi, Miroslava Hajek and Civica Galleria di Arte Moderna, Gallarate Antonio Zucconi, Lorenzo Girodo, Bruno Civica Raccolta Bertarelli, Milan clac Galleria del Design e dell’Arredamento, Cantù Beba Restelli, Milan Fondazione 3m, Segrate Italo Rota,
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