Information
H 64 cm
Polychrome glazed ceramic sculpture
Finally, Ponti's artistic direction at Richard Ginori represented an opportunity to experiment with his instinctive ability to weave strong forms of collaboration with the artists, which will connote all his subsequent design activity. Think, for example, of the Two figures (La letizia e L'ospitalità), made around 1923-25 on a plastic model by Salvatore Saponaro, or the Great table triumph for the Italian embassies, which he designed in 1926 together with Tomaso Buzzi and which it was modeled in white porcelain by Italo Griselli, with finds in gold marked with an agate tip by Elena Diana. Within these fruitful forms of collaboration, he developed his concept of productive symbiosis between art and industry again, as he himself stated during the preparation of the 1930 Triennale program: "Art is the genre, industry is the condition". In his role as artistic director of Richard Ginori - appointed, with the brilliant intuition of the company, as an architect and not a ceramist - he therefore had the opportunity to express his aspiration to compare the rigor of style with the productive needs of large industry. In fact, as he wrote in the Italian house: "Industry makes style and generates style: industry is the way of our time". And if the important collaborations that he started with other industries starting from the early thirties, after leaving Richard Ginori, had a decisive impact on the formation of future Italian design, this specific experience in the ceramic field really represented, as Paolo said Portuguese, the "prehistory" of design
Polychrome glazed ceramic sculpture
Finally, Ponti's artistic direction at Richard Ginori represented an opportunity to experiment with his instinctive ability to weave strong forms of collaboration with the artists, which will connote all his subsequent design activity. Think, for example, of the Two figures (La letizia e L'ospitalità), made around 1923-25 on a plastic model by Salvatore Saponaro, or the Great table triumph for the Italian embassies, which he designed in 1926 together with Tomaso Buzzi and which it was modeled in white porcelain by Italo Griselli, with finds in gold marked with an agate tip by Elena Diana. Within these fruitful forms of collaboration, he developed his concept of productive symbiosis between art and industry again, as he himself stated during the preparation of the 1930 Triennale program: "Art is the genre, industry is the condition". In his role as artistic director of Richard Ginori - appointed, with the brilliant intuition of the company, as an architect and not a ceramist - he therefore had the opportunity to express his aspiration to compare the rigor of style with the productive needs of large industry. In fact, as he wrote in the Italian house: "Industry makes style and generates style: industry is the way of our time". And if the important collaborations that he started with other industries starting from the early thirties, after leaving Richard Ginori, had a decisive impact on the formation of future Italian design, this specific experience in the ceramic field really represented, as Paolo said Portuguese, the "prehistory" of design
Condition report
To request a Condition Report, please contact design@finarte.it
The department will provide you with a general report of the condition of the property described above. Please note that what Finarte declares with respect to the state of conservation of the objects corresponds only to a qualified opinion and that we are not professional conservators or restorers.
We urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. We always suggest prospective buyers to inspect each lot to satisfy themselves as to condition during the exhibition days as indicated in the catalog.