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Diapositiva 1 NEL 1920 MARINETTI E BENEDETTA CAPPA DECIDONO DI CONVIVERE. SI SPOSERANNO NEL 1923 ED AVRANNO TRE FIGLIE: VITTORIA, ALA E LUCE NELLA NOSTRA PRIMA CONVERSAZIONE, PER ESIGENZE DI TEMPO, ABBIAMO TRALASCIATO DUE ARGOMENTI DI VALORE ECCEZIONALE PER LA DIVULGAZIONE DEL FUTURISMO: LA RIVOLUZIONE TIPOGRAFICA IL LIBRO FUTURISTA ZANG TUMB TUMB (1914) E’ IL PRIMO LIBRO PAROLIBERO LACERBA (FIRENZE 1913-15) PUBBLICA LE PRIME TAVOLE PAROLIBERE DI ARDENGO SOFFICI E’ BÏF§ZF+18 Simultaneità e Chimismi lirici CONSIDERATO ESEMPIO NOTEVOLISSIMO DI SPERIMENTAZIONE, SOPRATTUTTO PER LA SPLENDIDA COPERTINA A COLLAGE. RISALGONO AGLI ANNI VENTI E TRENTA LE PIU’ ARDITE SPERIMENTAZIONI SUI MATERIALI DA IMPIEGARE PER COSTRUIRE IL LIBRO FORTUNATO DEPERO - DEPERO FUTURISTA / Libro Macchina imbullonato NEL 1931 FARFA STAMPA SU UN FOGLIO DI LATTA IL POEMA-AFFICHE LITO-LATTA (SINCOPATIA DISEGNATA IN LIBERTA’) CON COMPOSIZIONE GRAFICA DI GIOVANNI ACQUAVIVA, REALIZZATO DALLA DITTA NOSENZO DI SAVONA LO STESSO PROCEDIMENTO VIENE UTILIZZATO PER IL PRIMO LIBRO DI LATTA E PRIMO LIBRO-OGGETTO CHE E’ PAROLE IN LIBERTA’ FUTURISTE TATTILI TERMICHE OLFATTIVE DI MARINETTI, REALIZZATO NEL 1932 DA TULLIO D’ALBISOLA PRESSO LA DITTA NOSENZO L’ESPERIENZA DELLA LITO-LATTA VIENE RIPETUTA CON L’ANGURIA LIRICA/LUNGO POEMA PASSIONALE DI TULLIO D’ALBISOLA, ILLUSTRAZIONI DI MUNARI E DIULGHEROFF, PRESSO LA DITTA NOSENZO (1934) PRIMA TESTIMONIANZA REALE DELL’ESISTENZA DI UN MOVIMENTO FUTURISTA AD ALTARE E’ UNA FOTOGRAFIA RISALENTE AL 1926 NEL GIUGNO DEL 1931 UN EVENTO INASPETTATO MISE IN CRISI LA SOCIETA’ ARTISTICO VETRARIA. PER SUPERARE QUESTA CRISI E DARE NUOVO IMPULSO ALL’ATTIVITA’ VETRARIA NEL GIUGNO DEL 1931 AMLETO SAROLDI E TULLIO MAZZOTTI SI INCONTRARONO PER LA PRIMA VOLTA. ANCHE FARFA VENNE IN AIUTO AGLI ALTARESI DI ASSOLUTA RILEVANZA LA PRESENZA DI AMLETO SAROLDI ALLA MOSTRA D’ARTE FUTURISTA PITTURA SCULTURA ARTE DECORATIVA, TENUTA NELLA GALLERIA DI PROSPERO DURANTE IN VIA PIA, A SAVONA, DALL’1 AGOSTO AL 10 SETTEMBRE 1932, INAUGURATA DA MARINETTI IN PERSONA. MOLTI DEI PROTAGONISTI DELLA MOSTRA PARTECIPERANNO POI AL PRINCIPALE EVENTO ORGANIZZATO NEL PAESE VALBORMIDESE, LA GIORNATA DELL’8 AGOSTO 1932, PASSATA ALLA STORIA PER IL PRANZO FUTURISTA ORGANIZZATO E REALIZZATO DA ALCUNI MAESTRI VETRAI. UN’ALTRA IMMAGINE DEL MOVIMENTO FUTURISTA ALTARESE. INNO DEL MOVIMENTO FUTURISTA ALTARESE. IN MANCANZA DELLE IMMAGINI DEGLI INTROVABILI VETRI FUTURISTI DI ALTARE DIAMO DI SEGUITO UN SAGGIO DELLA PERIZIA DEI MAESTRI VETRAI DELLA SOCIETA’ ARTISTICO VETRARIA. I FUTURISTI VICINI AL GRUPPO SAVONESE NON INTERRUPPERO MAI I CONTATTI CON GLI AMICI FUTURISTI DI ALTARE, FACENDO PERVENIRE LORO OGNI NUOVA STAMPA DELLE LORO PUBBLICAZIONI. I FUTURISTI DI ALBISOLA QUELLI CHE HANNO RIFONDATO LA CERAMICA. VERSO LA FINE DEGLI ANNI VENTI NASCE LA CERAMICA FUTURISTA DI ALBISOLA, LA MODERNA CERAMICA D’ARTE CHE SEPPELLISCE DEFINITIVAMENTE LA TRADIZIONE E CHIUDE UN’EPOCA: UNA FORMA ESPRESSIVA CHE SI COLLOCA TRA PITTURA E SCULTURA, UNIFICANDOLE E COMPLETANDOLE. E’ OPPORTUNO PRECISARE CHE L’AZIONE DEI FUTURISTI, NEGLI ALTRI CENTRI CERAMICI ITALIANI, SI ERA LIMITATA A RINNOVARE LE DECORAZIONI SU OGGETTI D’USO E DI ARREDO. Giacomo Balla, Piatto, 1928 ca. terracotta maiolicata decorata con colori e smalti, diam. 31 cm, collezione privata I MODELLI CHE TULLIO, FARFA E FILLIA CHIAMANO ANCORA “VASO” SONO OGGETTI CHE NON HANNO ALCUN RIFERIMENTO CON L’IDEA DEL “CONTENITORE”. Tullio d’Albisola, Vaso con punto interrogativo, 1930-31. terracotta decorata sotto vernice, h. 18,5 cm, collezione privata Tullio d’Albisola, Il mondo, 1930 ca. terracotta decorata sotto vernice, h. 22 cm, diam. 14 cm, collezione privata Tullio d’Albisola, Buona notte, 1930-31 ca. terracotta decorata sotto vernice, h. 24 cm, diam. base 19 cm, collezione privata Tullio d’Albisola, Fiori dei miei giardini, 1930 ca. terracotta decorata sotto vernice, h. 25,5 cm x 27 cm, Museo Internazionale delle Ceramiche, Faenza Tullio d’Albisola, Uovo, 1930-31 ca. terracotta decorata sotto vernice, h. 20 cm diam.max 17 cm, collezione privata Tullio d’Albisola, Miele italiano, 1930 ca. contenitore in terracotta decorata sotto vernice, con colori e smalti h. 15 cm diam. 9,5 cm, collezione privata Tullio d’Albisola, Cache-pot, 1929 ca. terracotta maiolicata decorata a mano sotto vernice, con colori e smalti h. 17 cm diam. max 24 cm, collezione privata Tullio d’Albisola, Vaso cilindrico, 1930 ca. terracotta maiolicata decorata a mano sotto vernice, con colori e smalti h. 18 cm diam. base 13 cm, collezione privata Tullio d’Albisola, Coppa amatoria, 1930. terracotta decorata sotto vernice, h. 15,5 cm diam. 26,5 cm, collezione privata Tullio d’Albisola, Zuccheriera del servizio da the per tre, 1933-34 ca. terracotta decorata sotto vernice Museo Internazionale delle Ceramiche, Faenza Tullio d’Albisola Boccale policentrico Fobia Antimitativa, 1929. terracotta decorata sotto vernice h 29,8 cm, diam max 32,5 cm Museo Internazionale delle Ceramiche, Faenza Tullio d’Albisola, Brocca Baker, 1929 ca. terracotta decorata sotto vernice, con colori e smalti h. 20,5 cm x 17 x 27, collezione privata Tullio d’Albisola, La quindicenne, 1929 ca. tuttotondo in terracotta maiolicata, decorata con colori e smalti, h 16 cm Museo Internazionale delle Ceramiche, Faenza Tullio d’Albisola, Sfinge dell’Avvenire, 1930-31 ca. terracotta maiolicata, decorata con colori, h 47 cm x 23 x 26 collezione privata Tullio d’Albisola, Autoritratto, 1929 ca. terracotta bianca, collezione privata Tullio d’Albisola, Il poeta derubato della sua forma, 1933 ca. Bronzo, cm 39 x 26 collezione privata Tullio d’Albisola, La vanitosa al sole, 1931 ca. Lega di alluminio, cm 34 x 13 x 18 collezione privata Tullio d’Albisola e Farfa, Vaso formichiere, 1931-32 ca terracotta decorata sotto vernice, cm h 26 x 21 x 20,5 collezione privata Farfa, Vaso Tuberie(fronte e retro), 1931. matite e carte colorate su carta su due facciate 31 x 21 cm, Galleria Narciso Torino Farfa, Bullonvaso (o Bevibullon), 1931-32 terracotta decorata sotto vernice, h cm 27,5 x 15 x 10 collezione privata Farfa, Le donne campanelle, 1921. piatto in terracotta decorata sotto vernice, diam. 40 cm, Galleria Narciso Torino Farfa, Gli Ombrelloni, 1921. piatto in terracotta decorata sotto vernice, diam. 37 cm, Galleria Narciso Torino Farfa, Tuberie, 1959 terracotta smaltata, h cm 22 x 5 collezione privata Fillia, Aerovaso, 1932 ca terracotta maiolicata decorata a smalto, h 18 cm Museo Internazionale delle Ceramiche, Faenza Fillia, Aeroceramica, 1931. piatto in terracotta maiolicata decorata con colori e smalti, diam. 37 cm, collezione privata Torido Mazzotti, Vaso, 1930 ca terracotta maiolicata graffita e decorata, h cm 16 x 14 Museo Internazionale delle Ceramiche, Faenza Torido Mazzotti, Vaso, 1938 ca terracotta maiolicata, h cm 33 Museo Internazionale delle Ceramiche, Faenza Torido Mazzotti - Bruno Munari, Servizio da antipasto, 1938 ca piattini triangolari in terracotta decorata sotto vernice Museo Internazionale delle Ceramiche, Faenza Bruno Munari, Bull-dog, 1934 ca terracotta maiolicata decorata con smalti. cm 25 x 27 x 16 Museo Internazionale delle Ceramiche, Faenza Bruno Munari, Cammello, 1929 ca terracotta maiolicata. cm 16,5 x 16,5 Museo Internazionale delle Ceramiche, Faenza Ivos Pacetti - Vaso, 1933 ca terracotta verniciata in monocromia argento riflessato Collezione Anna Pacetti, Albisola Superiore Ivos Pacetti - Accordo plastico , 1933 ca terracotta verniciata in monocromia bronzo riflessato Collezione Anna Pacetti, Albisola Superiore Ivos Pacetti - Maschera antigas , 1932 ca terracotta verniciata in monocromia bronzo riflessato Collezione Anna Pacetti, Albisola Superiore NEGLI ANNI 1926-27 ARTURO MARTINI MODELLA DEI GRUPPI DI FIGURE PRESSO LA FABBRICA “LA FENICE” DI MANLIO TRUCCO, MA LO FA DA SCULTORE, CON UNA SENSUOSITA’ MATERICA CANDIDA E FIABESCA CHE SCIVOLA NEI CONTORNI SINUOSI DEI NUDI FEMMINILI. Arturo Martini, Il sogno, 1931 terracotta h 200 cm collezione privata Arturo Martini, Pomona, 1929-30 ceramica policroma h 89 cm collezione privata Arturo Martini, Venere dei porti, 1932 terracotta cm 115 x 74 x 91 Museo di Treviso PER LA CERAMICA ALBISOLESE IL FUTURISMO HA AVUTO L’EFFETTO DI UN CICLONE BENEFICO CHE HA SPAZZATO VIA LE COSE MORTE ED INUTILI. PARADOSSALMENTE I FUTURISTI ALBISOLESI SONO STATI I VERI FUTURISTI CHE HANNO INVENTATO COSE VERAMENTE FUTURISTE. SONO GLI ARTISTI LA CUI OPERA SI E’ PERPETUATA NEL FUTURO; IL LORO SPIRITO HA CONTINUATO A SOPRAVVIVERE NELLE CERAMICHE DI FONTANA E DEI COBRA..
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