Borderless and Infinitive Arts —— Cézanne and Italicity Student Cittadellarte/Fondazione Pistoletto Fondazione GianninoBassetti Fondazione Links and Schola Italica Partner Montefusco Fabio Besti,MarcoBevolo,EttoreGiordano, NicolettaMoneta,Pietro Tutors Francesco Samorè,EmanueleVillani Prof. GiulioCeppi(coordinatore),FortunatoD’Amico,MarcoGribaudo Professors INTEGRATED PRODUCTDESIGN SCUOLA DELDESIGNPOLITECNICODIMILANO ZHAO YUE 2

3.4.2 GivebackTo Italy 3.4.1 GetInspired From Italy 3.4 ItalicityinArts 3.3.2 Landscape 3.3.1 Culture 3.3 ItalicityinAix 3.2 TouchpointsofCézanne 3.1 WhoisCézanne 3. CézanneandItalicity 2.2 WhoaretheItalics 2.1 WhatisItalicity 2. ItalicityandItalics 1.1 MilanotoTorinoArea 1. BackgroundofMI.TO’S Index CÉZANNE ANDITALICITY/index 6.1 Smarttechnology gy—Borderless museum 6. Exhibitionwith smart technolo- 5.1 TheAmbassadors time communication beyondspaceand 5. Awakeningthepersona—The sm 4.2 AestheticskillsforImpressioni- ture 4.1 ReinterpretationofItaliancul- heritage 4. SparksfromCézanne——The 3.4.3 Conclusion

3 8. Bibliograpy 7.2 Culturalcommunication 7.1 Internetplatform the worldwithInternetplatform 7. FutureofItalicity—Promotionto 6.3 UserJourney 6.2 Projectconcept:Cityexplorer 4 1. BackgroundofMI.TO’S

5 CÉZANNE ANDITALICITY/background ofmi.to’s 1.1 MilanotoTorinoArea including majorworksbyLeonardo daVinci. that boastsomeofthemostimportant collectionsintheworld, visitors everyyear,attractedbyits museumsandartgalleries enrolled students.Milanisthedestination of8millionoverseas tions, academiesanduniversities, with11%ofthenationaltotal visitors andgrowth.Thecityhosts numerous culturalinstitu- are currentlyamongtheworld’sbiggestintermsofrevenue, including MilanFashionWeekandtheFurnitureFair,which design capitalthankstoseveralinternationaleventsandfairs, The cityhasbeenrecognizedastheworld’sfashionand headquarters ofnationalandinternationalbankscompanies. tourism. ItsbusinessdistricthostsItaly’sstockexchangeandthe ment, fashion,finance,healthcare,media,services,researchand in thefieldofart,commerce,design,education,entertain- Milan isconsideredaleadingalphaglobalcity,withstrengths medieval periodandearlymodernage. of theWesternRomanEmpireandDuchyMilanduring in Italyandthe54thlargestworld.Milanservedascapital tion of7.5million,makingitbyfarthelargestmetropolitanarea eastern Piedmontandwhichcountsanestimatedtotalpopula- tric metropolitanregionthatextendsovercentralLombardyand Milan metropolitanarea,knownasGreaterMilan,isapolycen- Milan isacityinnorthernItaly,capitalofLombardy.Thewider Milano 6 1 undoubted. host 2026WinterOlympics,thestatus ofMI.TOareainworldis Also, Milan,TurinandCortinad’Ampezzo submittedplansto in Italy.Anditexpressesrepresentative valueofItalianculture. vision ofdevelopment,whichisone ofthemostimportantareas To sumup,MI.TO(MILANO-TORINO)area isreallypotentialfor MILANO-TORINO AREA name ResidencesoftheRoyalHouseSavoy. center ofTurinwasinscribedintheWorldHeritageListunder built betweenthe16thand18thcenturies.Apartofhistorical gardens andelegantpalazzisuchasthePalazzoMadama,were Art Nouveauarchitecture.ManyofTurin’spublicsquares,castles, known foritsRenaissance,Baroque,Rococo,Neo-classical,and dens, theatres, libraries, museums and other venues. Turin is well restaurants, churches,palaces,operahouses,piazzas,parks,gar- culture andhistory,beingknownforitsnumerousartgalleries, by thewesternAlpinearchandSupergaHill.Thecityhasarich bank ofthePoRiver,infrontSusaValley,andissurrounded Italy from1861to1865.Thecityislocatedmainlyonthewestern Turin andofthePiedmontregion,wasfirstcapitalcity northern Italy.ItisthecapitalcityofMetropolitanCity Turin isacityandanimportantbusinessculturalcentrein Torino 2 2. ItalicityandItalics

7 CÉZANNE ANDITALICITY/italicity anditalics 2.1 WhatisItalicity? playing animportantroleintheevolutionofworldhistory. Capitalizing thisheritage,theItalicswillbeabletocontinue than tothenationaldimensionofcountrythatproducesit. importance tothevaloruniversethatinspiresbrands,rather of Italicity.Theconsumerstheglobalizedmarketgivemore do businesswithentrepreneurialrealitiesrelatedtothesphere A realinterestpushesforeigncompaniesandprofessionalsto and opportunitiesforexchange: Italicity isalsoapreciousfactorfortheconstructionofmarkets belonging, butofenteringintoanenrichingdimension. not implyarenunciationofone’sownnationalidentitiesand cally. RecognizingoneselfinthecommunityofItalicsdoes and societiesdistantfromeachother,culturallygeographi- cessarily havekinshiporItalianancestry.Theyliveincountries rather thanthemeaningofItaliancities.TheItalicsdonotne- different nationalitiesandculturalbackgroundsidentifytogether Italicity isakindofItalianvaluethatgrouppeoplewith 8 ——Piero Bassetti approximately 250millionpeople.” shared behavioralmodels.Iestimatethatwearetalkingabout blood nonethelessembracedourcountry’svalues,lifestyle,and lophones. AllthosepeoplewhomightnothaveadropofItalian and ofAustralia;aswellItalophones,Italianspeakers,ita- their descendants;Italian-Americans,thoseofthetwoAmericas “Italics arenotjustItaliancitizensinItalyandabroad,butalso languages, buttheyfeelthesame. ships, theyliveindifferentcountriesandspeak group ofpeoplewithsamevalue.Theyhavedifferentcitizen- Italics inthisessaydonotmeanthefontsbutalarge 2.2 WhoaretheItalics? CÉZANNE ANDITALICITY/italicity anditalics 3

9 3. CézanneandItalicity 10 CÉZANNE ANDITALICITY/cézanne anditalicity Gasquet’s Cézanne:AMemoirWithConversations). and lastingliketheartofmuseums,”heexplained(Joachim style. “IwantedtomakeoutofImpressionismsomethingsolid Impressionism—and focusedonsymbolismandsubstanceover fleeting impressionsofhissubjects—akeycharacteristic orderly compositions.Healsowasnotinterestedincapturing their seeminglyspontaneousbrushworkandfavoredorganized, preferred paintinginastudiotoworkingenpleinair.Herejected himself anImpressionist.UnliketheImpressionists,Cézanne While heworkedcloselywiththesefigures,didnotconsider Impressionist artistslikeClaudeMonetandMaryCassatt. this region,healsospenttimeinParis,whereexhibitedwith south ofFrance,in1839.Whilehelivedandworkedprimarily Paul CézannewasborninAix-en-Provence,acommunethe 3.1 WhoisCézanne? a-kind aestheticdistinguishablefromthatofhiscontemporaries. As aresultofthisartisticapproach,Cézannedevelopedone-of- 4

11 CÉZANNE ANDITALICITY/cézanne anditalicity 3.2 TouchpointsofCézanne et amountofmoney,hereceived highly negativecritics. 1874 exposition.Althoughoneof his paintwassoldforadiscre With otherimpressionists,Cézanne tookpartinthescandalous 1874 negative critics. was soldforadiscreetamountofmoney,hereceivedhighly part inthescandalous1874exposition.Althoughoneofhispaint progressist artschool.Withotherimpressionists,Cézannetook Manet). HealsoattendedtheAcadémieSuisse,averyliberaland movement (Pisarro,withwhombecameaclosefriend,Monetand went toParisandcameincontactwiththeimpressionist’s After ashorttime,acknowledginghisbondwithart,Cézanne 1861 true passion. sketches, startingtogetincontactwithhis to Paris,Paulusesendhimlotsofdrawingsandquick was highlyinfluencedbyhisfriendEmileZola.Whenhemoved While hisfatherwantedhimtobeabankeraswell,Paul 1858 and successfulbanker. abandoned thelongtimefamilyprofessionandbecameawealthy Paul CézannewasborninAix-en-Provence,1839.Hisfather 1839 France around1650. name (CesanaTorinese).Afterwards,theymovedfromItalyto Cézanne wereanItalianfamily,livinginthecityofsame 1650 12 5 and lotsofthemareItalianwhoshaped the20thcentury. vanguards, passed tothenextcenturyartist(suchasPicasso)butalso great expositioninhishonortookplace.Cézanneartisticheritage Cézanne’s art,however,didn’tdie.Oneyearafterhisdeath,a 1907 painting. from pneumonia,coughtduringastormwhilehewasoutside, works aredifferentversionsofthesamefamiliarscopes.Hedied trying tocapturethedeepestmeaningofpainting.Hislast in hishometown,roamingaroundAix,surroundedbynature, Fame, however,couldn’tsatisfyhim.Paulspenthislastyears 1890-1906 painter appreciatednotonlyfromtheartisticvanguards. great success.Cézannebecameawidelyknown by Cézanne’sfriendandartistVollard.Butthistime,itwasa Another exhibitiontookplacein1885,organized 1885 a son,namedPaultoo. In thistime,hemetandmarriedHortenseFiquet,withwhomhad travelling throughFrance,Provenceinparticular. Feeling extremelyunsatisfiedwithhisart,hespentlotsofyears 1880 6 3.3 ItalicityinAix Current archeologicalexcavations in theVilledesTours,a ries, thetownwasseatof IntendanceofProvence. Provence, whichexisteduntil1789. Inthe17thand18thcentu 1487, andin1501LouisXIIestablished theretheparliamentof Aix passedtothecrownofFrance withtherestofProvencein it becameanartisticcentreandseatoflearning. century, when,underthehousesofBarcelona/AragonandAnjou, capital ofProvence,didnotreachitszenithuntilafterthe12th Charles Martelin737.Aix,whichduringtheMiddleAgeswas and Lombards,wasoccupiedbytheSaracensin731 eding century,thetownwasrepeatedlyplunderedbyFranks 3.3.1 Culture Secunda. ItwasoccupiedbytheVisigothsin477.Insucce In the4thcenturyADitbecamemetropolisofNarbonensis passed intoRomanlegendsofGermanicheroism. Teutones, withmasssuicidesamongthecapturedwomen,which where theRomansunderGaiusMariusdefeatedCimbriand 102 BCitsvicinitywasthesceneofBattleAquaeSextiae, the destructionofnearbyGallicoppidumatEntremont.In Sextius Calvinus,whogavehisnametoitssprings,following Aix (AquaeSextiae)wasfoundedin123BCbytheRomanconsul Bouches-du-Rhône, ofwhichitisasubprefecture. the regionofProvence-Alpes-Côted’Azur,indepartment 234 kmwestofTurin,Italy.AformercapitalProvence,itisin Aix-en-Provence isacity-communeinthesouthofFrance,about CÉZANNE ANDITALICITY/italicity anditalics - - south side.TheArchbishopricofAixisnowsharedwithArles. palace andaRomanesquecloisteradjointhecathedralonits dome supportedbyoriginalRomancolumns.Thearchbishop’s side panels,aswellaMerovingianbaptistery,itsRenaissance a 15th-centurytriptych,depictingKingRenéandhiswifeonthe carved inwalnut.Theinteriorcontains16th-centurytapestries, richly decoratedportalintheGothicstylewithdoorselaborately mixture ofallstylesfromthe5thto17thcentury,includinga a formerRomanforumandanadjacentbasilica,itcontains to thenorthinmedievalpartofAix.Builtonsite The CathedraloftheHolySaviour(AixCathedral)issituated the likesofPaulCézanne,ÉmileZolaandErnestHemingway. most famousbrasserieinAix.Built1792,itwasfrequentedby with banksandontheothercafés,isDeuxGarçons, the north.Situatedonthisavenue,whichislinedoneside mansions datingfromthe16th,17thand18thcenturies,liesto west; theoldtown,withitsnarrow,irregularstreetsand town intotwosections.Thenewextendstothesouthand fountains. Itfollowsthelineofoldcitywall,anddivides rows ofplanetrees,borderedbyfinehousesanddecorated The CoursMirabeauisawidethoroughfare,plantedwithdouble tal MiocenegaverisetoaChristiandragonlegend. amphitheatre. AdepositoffossilbonesfromtheUpperContinen- medieval suburbofAix,haveunearthedtheremainsaRoman Italy. Thus, Aixwasaculturalexchange point betweenFranceand sculptures fromItalianrenaissance. The MuseeGranet(Aix,1824)exposed severalpaintingsand 6 13 14 To thenorth,mountainslopesgentlydownthroughwoo- to paint. beyond thatamountainhut,therefugeCézanne,whereheliked side ofMontSainte-Victoire,thereisawindmillthatheusedand lifetime. InthevillageofleTholonetonprecipitoussouthern a favouritesubjectandhauntofPaulCézannethroughouthis overshadows thesmalldambuiltbyÉmileZola’sfatherandwas of EscrachouPevoutotheplateauBibemus.Itdramatically centre ofAixbyroadoronfoot,takingthewoodedfootpath one ofthelandmarksPaysd’Aix.Itisaccessiblefrom To theeastofAixrisesMontagneSainte-Victoire(1011m), Italy. In climate,landscapeandgeography,Provenceisverysimilarto 3.3.2

Landscape to September. daughter CatherineHutin,hasbeenopentothepublicfromJune 2009 onwards,thechâteau,whichnowbelongstoJacqueline’s in itsgrounds,whicharenotusuallyopentothepublic.From he movedtoMougins.HeandhiswifeJacquelineareburied in 1958,whowasresidenttherefrom1959until1962,when nargues. ItwasacquiredbytheSpanishartistPabloPicasso before itbecamethefamilyhomeofmarquisdeVauve- of Provence(includingRenéAnjou)andtheArchbishopsAix gues overlookingthevillagewasformerlyoccupiedbyCounts dland tothevillageofVauvenargues.TheChâteauVauvenar- le Tholonet. man-made reservoirofBimontandtotheRomanviaductabove to theprioryandCroixdeProvenceatsummit,large Mont Sainte-Victoirehasacomplexnetworkofpaths,leading 7

15 Throughout hislifeCézannebecame moreandinfluenced Romans(Aix wasfoundedin123b.c.) Provence wasoneofthefirstregion tobecolonizedbythe 16 rather thanthesurfacebeautythat changedwiththeseasons. vence. Hewantedtocapturethepart ofnaturethatwasconstant by natureandparticularlythebeauty ofhishomeinAix-en-Pro- CÉZANNE ANDITALICITY/italicity anditalics Pissarro andspendingtimewithClaudeMonethiscolorpalette he wasneveranImpressionist,afterworkingalongsideCamille jury hefeltsomeaffinitywiththegroup.Furthermorealthough modern artistwhowasbeingconstantlyrejectedbytheSalon Cézanne wasinfluencedbyImpressionisminthe1870s.Asa et Inspiredet From Italy 3.4.1 Les Joueursdecartes,PAULCézanne, 1890-95 3.4 ItalicityinArts

G relationship withthegroupduetoartisticdifferences. after exhibitingwiththeImpressioniststwiceCézanneendedhis brightened upandhebegantoworkenpleinair.Nonetheless naissance, bothintermsoftopicsandtechniques. Cézanne tookgreatinspirationfromtheItalianartistofRe- APOLLO EMARSIA,TIZIANOVECELLIO,1570 8

17 Cézanne notonlylookattheclassicworldandmythologyinpaintings,butalsosculpture. LE FESTIN, PAUL Cézanne,1867 Some similaritiesemergeevenwithItalianpaintersof17thcentury. ENLÈVEMENT, PAUL Cézanne, 1867 18 NOZZE DICANA, PAOLO VERONESE,1562-63 1574-80 IL RATTO DELLESABINE, GIAMBOLOGNA, Paysage prèsdeParis,PAULCézanne (UNCERTAIN),1874 SETTIGNANO, TELEMACOSIGNORINI,1885 The MacchiaioliwereagroupofItalianpaintersactiveinTuscany sm, the“Macchiaioli”movement. He wasalsoclosertotheItaliancounterpartofimpressioni- 3.4.2

Give backT o Italy purposes. years later,althoughtheMacchiaiolipursuedsomewhatdifferent to theFrenchImpressionistswhocameprominenceafew ral light,shade,andcolour.ThispracticerelatestheMacchiaioli art, didmuchoftheirpaintingoutdoorsinordertocapturenatu- the antiquatedconventionstaughtbyItalianacademiesof in thesecondhalfofnineteenthcentury,who,breakingwith ACCOMODATORI DIRETIACASTIGLIOINCELLO, GIOVANNIFATTORI,1867

19 and intothe21st. shaping EuropeanandAmericanartthroughoutthe20thcentury the mostcomprehensiveviewtodateonCézanne’svitalrolein In thismonumentalbook,ateamofdistinguishedscholarsoffers influence hasextendedtoagreatdiversityofartiststhereafter. all” hasbeenattributedtobothMatisseandPicasso,his The famousproclamationthatCézanne“isthefatherofus essential forthebirthofItalianvanguards. Cézanne tookgreatinspirationfromItalianarts,buthewas 3.4.3 Conclusion GIOCATORI DICARTE,OTTONEROSAI,1936 20 8 gs. of thepaintedsubject,wasalreadypresentinCézanne’spaintin- every linkwiththepast,ideaof“decomposing”structure Even futurism,whichwasamovementthatpretendedtocut NE ROSAI,1839 FIACCHERAIO CONFIASCOEBICCHIERE, OTTO- The HiddenThe Heritage 4.Sparks fromCézanne

21 different, butwhichhasstrongcalls. a more”modernway”,usingitasbaseforsomethingnewand Cézanne tooktheItalianartistictraditionandreinventeditwith re, fusedwiththeinfluencesofothercountries. he leavesusaheritagewhichisreinterpretationofItaliancultu- Although CézanneisfullFrench,doesn’trealizethatheitalic, CÉZANNE ANDITALICITY/sparks fromcézanne Italian culture 4.1Reinterpretation of ting wherealmostareinterpretationofItalianlandscape. landscape toItaly.It’stoohardimaginethatCézanne’spain- What ismore,hishometown——Provencehasaverysimilar 22 10 Impressionism 4.2Aesthetic skillsfor delicate.” outlines ofobjectswhentheirpointscontactaretenuousand lines, hereliedonthiscontrastingbrushworkto“definethe to creategeometricforms.AsCézanneavoidedtheuseofdark strokes“—meticulously arrangedmarksthatworkedtogether stic ofImpressionism,however,Cézanneemployed“constructive technique. Unlikethequick,sketch-likebrushstrokescharacteri- Like theImpressionists,headopteda“brokenbrushwork” paint application. sionists, however,hewasinspiredtoembracenewmethodsof heavily texturedpaintings.AfterworkingalongsidetheImpres- Early inhiscareer,Cézanneusedpaletteknivestoproduce “CONSTRUCTIVE” BRUSHWORK CÉZANNE ANDITALICITY/sparks fromcézanne be representedbysomethingelse…by color.” he explained,accordingtoRenoir. HisLifeandWork.“Ithadto myself whenIdiscoveredthatsunlight couldnotbereproduced,” avant-garde approachtorepresenting nature.“Iwaspleasedwith of depthtoeachpanoramicdepiction andshowcaseCézanne’s nious blocksofcolor.Thesepolychromatic planesaddasense homes oftheProvençalcountrysidetofragmented-yet-harmo- series, Cézannereducesthemountains,trees,andMediterranean like hisradiantviewsofMontSainte-Victoire.Inthissun-baked This tonaltreatmentisparticularlypronouncedinhislandscapes, adopted apreferenceforplanesofsaturatedhues. of hisearlyworksarerenderedinsombertones,heeventually also characterizedbyarecognizablecolorpalette.Whilemany In additiontopainterlybrushstrokes,Cézanne’spaintingsare BRIGHT COLOR 11 12 myself cantakealotofcreditforthis.” centuries toredress;PaulCézanneandafterhimPicasso in imposingonartwereaghastlymistakewhichithastakenfour 1957: “Thehard-and-fastrulesofperspectivewhichitsucceeded play amajorroleinCubism,asartistGeorgesBraquenoted off-kilter compositions.Thisprincipleofdistortionwouldlater rather thanthesceneasawhole,culminatingineye-catching, once. Heachievedthisbyemphasizingeachindividualobject surfaces toshowthesamearrangementfrommultipleanglesat In these paintings, Cézanne played with perspective and flattened topsy-turvy tabletops. fruit, bottles,andothereverydayobjectsbalancedontilted, evident inhisstill-lifedepictions,whichfrequentlyfeature space infavorofmorecreativecompositions.Thisisparticularly In hispaintings,Cézanneoftenrejectedrealisticportrayalsof SKEWED PERSPECTIVE 13

23 spaceandtime communication beyond The 5.Awakening thePersona 24 values ofItalicitytoeveryitalic. pioneers wouldbecomeambassadorsofItalicity,anddeliverthe easy toacceptnewthings,curiousandenthusiastic.Then,these to awakethepioneersfirst,becausetheyareinterestedinarts, millennials. Andtargetuseriseveryitalicintheworld,weneed These pioneerscouldbeart&designstudents,aged20-25, of Italicity,whoaresuccessorCézanne’sspiritsandvalues. What elseCézannehadcontributedistoawakethepioneers 5.1The Ambassadors CÉZANNE ANDITALICITY/awakening thepersona and Twitter,Instagramposts. and tacit,butfragmentedinthousandsofblogs,site,Facebook the barrieroflanguages.Alotitalicwayfeeling,implicit arts couldbeunderstoodbeyondthespaceandtime,without countries, languages,peoples,cultures?Theanswerisarts.Only same. Whatkindofapproachcanbeunderstoodamongdifferent countries andtheyspeakdifferentlanguages,butfeelthe As Italics,theyhavedifferentcitizenships,livein

25 Case Study:Italica Net on thiswebiste. tongue andtourism.Italicpeoplecouldfindtheircommonvalues like community,business,innovation,food,fashion,art,design, lifestyle. Inthiswebsite,itshowsdifferentaspectsofItalicity, Italian descendantsandspeakers,allthosewholike this peopleItalics.ItalicsareItaliancitizens,Italian-American, and passionfortheItalianculturewayofliving.Wecall Italicanet isanetworkofpeoplewhosharethesameinterest 26 14 Borderless museum smart technology 6.Exhibition with

27 40