Academic literature on the topic 'Enrico Prampolini'

AbstractDuring the 1930s a particular emphasis was placed within fascist Italy upon cultural evolution towards the ‘new man’. Although this was in part articulated verbally by a fascist philosopher such as Giovanni Gentile, this new masculine sensibility received much of its most persuasive embodiment through the visual arts and music. Unsurprisingly, major musical figures of the era such as Alfredo Casella and the youthful Goffredo Petrassi were strongly aware of sympathies and complementarities between the two media – and the same is true of painters such as Enrico Prampolini and Fortunato Depero, or a sculptor such as Ernesto Thayaht, all of whose work is called upon in this study. (DO-S).

Wystawa Enrico Prampolini. Futuryzm, scenotechnika i teatr polskiej awangardy, którą od 9 czerwca do 8 października 2017 roku oglądać można było w łódzkim Muzeum Sztuki stanowiła jedno z najintensywniejszych spotkań z awangardą w minionym, jubileuszowym roku. Ekspozycja oferowała erudycyjną wyprawę śladami zainteresowań kuratora Przemysława Strożka, badacza włoskiego futuryzmu i dziejów jego polskiej recepcji. Pomimo jasno sprecyzowanego celu, jakim było zderzenie twórczości Prampoliniego z osiągnięciami polskiej awangardy teatralnej, nie była to klasyczna wystawa z „z tezą”, co można było uznać zarówno za niewątpliwą zasługę jak również winę kuratora, a osąd w tej sprawie zależał w głównej mierze od stopnia przygotowania merytorycznego odbiorcy. Wielowątkowa opowieść, jaką snuły zgromadzone tu w bogatym i reprezentatywnym wyborze eksponaty dla części publiczności okazywała się bowiem nie dość przystępna, dla innej zaś rewelacyjna. Zagadnienie międzynarodowych kontaktów pomiędzy przedstawicielami awangardy zaprezentowane zostało w sposób nienachalny, a oddana do użytku zwiedzającego przestrzeń dawała możliwość swobodnej, dostosowanej do stopnia znajomości tematu, eksploracji. Przedsięwzięciu temu sprzyjał teren ekspozycji, który, uniemożliwiając zastosowanie w pełni konsekwentnej, linearnej narracji, skłaniał do opowieści meandrującej i dialogicznej. W efekcie powstał fascynujący labirynt zaprezentowanych sugestywnie, a niekiedy także ukrytych sprzężeń zwrotnych, zachodzących pomiędzy polską i włoską awangardą lat 20. i 30. XX wieku.

The purpose of the article is to reveal the peculiarities of the concept of stage design of E. Prampolini, one of the Italian futurism theoreticians and practitioners, and to find out the influence of the master on the further development of scenography. Research methodology. The analytical and historical method have been applied to study the treatises of Italian futurists and the historical period of the futuristic scenography formation. The method of comparative analysis enabled comparing E. Prampolini’s concept with the theoretical and practical achievements of other representatives of Italian futurism and the trends of stage design of post-dramatic theatre. The theoretical method has been used to highlight the main trends of futuristic scenography according to E. Prampolini. Scientific novelty. The concept of E. Prampolini’s stage design has been studied in the context of the specifics of Italian futurism. The originality of the artist's creative method has been revealed. The main principles of the interrelationship of dramaturgy, directing, and stage design of the futurists, the relationship between stage design and the actor, dramaturgy, and audience perception have been considered. E. Prampolini’s theoretical works, in particular «Chromaphony» (1913), «Futuristic scenography and choreography» (1915), the manifesto «Futuristic stage atmosphere» (1924), little known in the domestic scientific dimension, have been analysed. Finally, common features of futuristic and modern stage design have been revealed. Conclusions. The history of stage design proves that innovative and intriguing artistic achievements usually arise due to the reaction of artists and dynamic changes in the surrounding reality. Revolutionary artists being inspired by the stormy atmosphere, bring changes to traditional approaches and methods of scenographic solution of the performance. At the beginning of the 20th century, thanks to the work of futurists, the artistic design of a theatrical performance not only underwent huge changes, but also changed its definition in stage art. E. Prampolini, as one of the founders of Italian futurism of the «second wave», approved his own specific approaches, based on the artistic concept and understanding of form, light, colour, and movement as the most important tools in the ensemble art of stage design. The concept of stage design proposed by E. Prampolini, according to which only the scenographer with his perceptive means and understanding can create an equivalent world, is as important as the play itself. It led to the appearance of numerous followers and epigones among the futurists of the «second wave», and thanks to the support of the master's close contacts with various European art and theatre schools, was integrated into the pan-European avant-garde context. According to the main revolutionary idea of the master, the stage design of the futurists, the so-called «subjective stage design», is distinguished from the traditional («objective») stage design of the time. According to E. Prampolini, «subjective stage design» is created by synthesising all means of expression, which together turn a futuristic scene into an abstract whole, and it subconsciously affects the viewer, creates a unique «state of mind» for each production, using shapes, colours, movement, and light. The research has revealed that E. Prampolini's futuristic experiments in the field of stage design directly echo the current trends of postmodern theatre. Key words: Ernico Prampolini, futurism, scenography, stage design, light, colour.

In this short article I will try to outline the problematic use of the concepts of “realism“ and “modernism“ in Bulgaria during the twentieth century, and especially in two concrete moments – in the 1930s and in the 1960s. The main example is the artist Ivan Nenov (1902–1997) – one of those names that are associated with modernism in the canonical narrative of Bulgarian art from XX century. In the late 1920’s, when Nenov appeared on the art scene, the peak of the Native Art Movement had already passed. The return to the picture in the early 1930’s in Bulgaria was related to the association of the New Artists, to retrospective interest in Cézanne and introduction of the concept of “New Realism”. Nenov was one of the protagonists of this movement. In the same decade, in 1932–1933 and 1936–1937, he stayed in Italy – in Turin and Albisola Marina – with his friend, the artist Nicolay Diulgheroff. Diulgheroff was part of the second Italian Futurism and introduced Nenov to these circles. In Nenov’s works from that time – paintings, drawings, and sculptures – we recognize his enthusiasm for Fillia, Carlo Carrà, Enrico Prampolini, and Diulgheroff himself. After World War II, under the Communist rule in Bulgaria, Nenov initially found a “refuge“ in the field of ceramics. In 1950 he was forced to leave his teaching post at the Academy of Arts. Later, his work, along with the work of other central artistic figures from the 1930s, was appropriated by the invented genealogy of (Socialist) Realism in a broader, liberal understanding. Nenov himself wrote in support of figurative art. Thus, in the case of the artist Ivan Nenov, the concepts of futurism, valori plastici, new realism in the 1930s – at one moment of his career, and socialist realism, realism, figural art – during the Communist rule, paradoxically intertwine with each other and hold relation to phenomena elsewhere in Europe.

Obiettivo principale della ricerca è quello di aggiungere un tassello mancante, attraverso una nuova chiave di lettura, alla complessa attività artistico-teorica dell’artista futurista Enrico Prampolini (1894-1956). Questa tesi, oltre a riordinare e raccogliere tutto ciò che riguarda l’architettura e il rapporto di quest’ultima con le arti nell'opera di Prampolini, coglie l’occasione per puntualizzarne aspetti ancora poco esplorati, grazie anche all'analisi inedita dei documenti originali dell'artista conservati presso il CRDAV del Museo d’arte contemporanea di Roma. Partendo dall'analisi dei rapporti dell’artista modenese con le avanguardie straniere, la ricerca prosegue con la presa in esame dei manifesti, degli scritti e degli articoli noti e inediti legati alla teoria architettonica nella produzione dell’artista modenese. Il nucleo centrale della ricerca è costituito dagli elementi inediti emersi presso l’Archivio Prampolini consistenti in relazioni di progetti architettonici per un Piano urbanistico del Centro Alberghiero di Castel Fusano (1938) e per due alberghi nel centro di Roma (1938-1939). La seconda parte della ricerca si concentra sull'analisi del rapporto tra arte e architettura nel Futurismo e sul fondamentale contributo dato in tal senso da Prampolini, in particolare attraverso la “plastica murale”, come completamento dell’architettura futurista e fascista e la concezione dell’Arte Polimaterica. Nell'ultima parte della ricerca si affronta infine l'analisi del rapporto tra arte e architettura gestito in ambito istituzionale in Italia tra le due guerre, con l’emanazione, nel 1942, della legge detta “del 2%”. Aspetto finora inedito delle vicende legate alla “legge del 2%” è l'emergere del ruolo centrale di Prampolini nel contribuire al dibattito che portò alla sua approvazione, e non secondariamente nella ricerca di migliori condizioni economiche e maggiori occasioni di lavoro per gli artisti. La figura di Enrico Prampolini emerge dunque, da questa ricerca, come un nodo fondamentale per comprendere alcuni degli aspetti ancora inesplorati della cultura artistico-architettonica italiana degli anni Venti-Quaranta.
The main objective of this research is to add a missing piece, through a new interpretation, to the artistic and theoretical activity of the futurist Enrico Prampolini (1894-1956). This thesis , wants collect everything related to architecture and the relationship of the latter with the arts in the work of Prampolini and takes the opportunity to point out this aspects still poorly explored, thanks also to the analysis of unpublished documents’ artist kept at the CRDAV of the MACRO. The core of the research consists in the new elements emerged at the Prampolini Archives consisting in a descriptive reports of architectural plans for a development of the Centre of Hospitality of Castel Fusano (1938) and two hotels in the center of Rome (1938-1939). The second part of the research focuses on the analysis of the relationship between art and architecture in Futurism and the fundamental contribution in this direction by Prampolini, particularly through the "plastica murale" as completion of Futurist and Fascist architecture and the conception of the Polymaterials Art. In the last part of the research we deal with the analysis of the relationship between art and architecture managed in Italy in the institutional context, between the two Wars, with the enactment, in 1942, of the law known as the "2%". Appearance of until now unpublished events related to the "law of 2%" is the emergence of the central role of Prampolini in contributing to the debate that led to its approval, and not secondarily for search of better economic conditions and more job opportunities for artists. The figure of Enrico Prampolini therefore emerges from this research as a crucial question to understand some of the unexplored aspects of the Italian architectural and artistic culture of the Twenties-Forties.

Obiettivo principale della ricerca è quello di aggiungere un tassello mancante, attraverso una nuova chiave di lettura, alla complessa attività artistico-teorica dell’artista futurista Enrico Prampolini (1894-1956). Questa tesi, oltre a riordinare e raccogliere tutto ciò che riguarda l’architettura e il rapporto di quest’ultima con le arti nell'opera di Prampolini, coglie l’occasione per puntualizzarne aspetti ancora poco esplorati, grazie anche all'analisi inedita dei documenti originali dell'artista conservati presso il CRDAV del Museo d’arte contemporanea di Roma. Partendo dall'analisi dei rapporti dell’artista modenese con le avanguardie straniere, la ricerca prosegue con la presa in esame dei manifesti, degli scritti e degli articoli noti e inediti legati alla teoria architettonica nella produzione dell’artista modenese. Il nucleo centrale della ricerca è costituito dagli elementi inediti emersi presso l’Archivio Prampolini consistenti in relazioni di progetti architettonici per un Piano urbanistico del Centro Alberghiero di Castel Fusano (1938) e per due alberghi nel centro di Roma (1938-1939). La seconda parte della ricerca si concentra sull'analisi del rapporto tra arte e architettura nel Futurismo e sul fondamentale contributo dato in tal senso da Prampolini, in particolare attraverso la “plastica murale”, come completamento dell’architettura futurista e fascista e la concezione dell’Arte Polimaterica. Nell'ultima parte della ricerca si affronta infine l'analisi del rapporto tra arte e architettura gestito in ambito istituzionale in Italia tra le due guerre, con l’emanazione, nel 1942, della legge detta “del 2%”. Aspetto finora inedito delle vicende legate alla “legge del 2%” è l'emergere del ruolo centrale di Prampolini nel contribuire al dibattito che portò alla sua approvazione, e non secondariamente nella ricerca di migliori condizioni economiche e maggiori occasioni di lavoro per gli artisti. La figura di Enrico Prampolini emerge dunque, da questa ricerca, come un nodo fondamentale per comprendere alcuni degli aspetti ancora inesplorati della cultura artistico-architettonica italiana degli anni Venti-Quaranta.
The main objective of this research is to add a missing piece, through a new interpretation, to the artistic and theoretical activity of the futurist Enrico Prampolini (1894-1956). This thesis , wants collect everything related to architecture and the relationship of the latter with the arts in the work of Prampolini and takes the opportunity to point out this aspects still poorly explored, thanks also to the analysis of unpublished documents’ artist kept at the CRDAV of the MACRO. The core of the research consists in the new elements emerged at the Prampolini Archives consisting in a descriptive reports of architectural plans for a development of the Centre of Hospitality of Castel Fusano (1938) and two hotels in the center of Rome (1938-1939). The second part of the research focuses on the analysis of the relationship between art and architecture in Futurism and the fundamental contribution in this direction by Prampolini, particularly through the "plastica murale" as completion of Futurist and Fascist architecture and the conception of the Polymaterials Art. In the last part of the research we deal with the analysis of the relationship between art and architecture managed in Italy in the institutional context, between the two Wars, with the enactment, in 1942, of the law known as the "2%". Appearance of until now unpublished events related to the "law of 2%" is the emergence of the central role of Prampolini in contributing to the debate that led to its approval, and not secondarily for search of better economic conditions and more job opportunities for artists. The figure of Enrico Prampolini therefore emerges from this research as a crucial question to understand some of the unexplored aspects of the Italian architectural and artistic culture of the Twenties-Forties.

La tesi di dottorato si è concentrata sulla rivista d'arte militante "Arti Visive" (1952-58), organo ufficiale della Fondazione Origine di Roma, attraverso l'analisi sistematica della rivista in tutti i suoi aspetti (contenuti, immagini, grafica, impaginazione) e la consultazione di materiali documentari in archivi italiani e stranieri (USA, Inghilterra, Francia). La tesi ha cercato di mettere in evidenza le personalità che hanno collaborato alla rivista e le posizioni che ha assunto durante gli anni di pubblicazione a sostegno dell'arte astratta (concretismo, informale) e a favore di un aggiornamento internazionale, tanto che la rivista ha favorito i rapporti privilegiati instauratisi tra il panorama aartistico romano e quello newyorkese.
The PhD dissertation focused on art magazine "Arti Visive" (1952-58), published by Fondazione Origine in Rome, thanks to a deep analysis of all its features (subjects, images, graphic and layout) and by consulting many archives in Italy and abroad (USA, Great Britain, France). The dissertation highlighted figures (artists, poets and critics) involved in the magazine and their positions in favor of abstract art (concret art and informel) and in favor of an international upgrade; in effect "Arti Visive" supported special relationship between Rome and New York.

La ricerca riguarda l’indagine sul cambio di visione introdotto in particolare nei primi due decenni del Novecento con la negazione della prospettiva e la nuova definizione della spazialità. Questioni successive alla rottura del XIX secolo con i modelli di visione classici che hanno introdotto nuove convenzioni dei sistemi di rappresentazione. Attraverso il linguaggio futurista delle rappresentazioni scenografiche di Enrico Prampolini sono state, quindi, condotte analisi e interpretazioni che hanno delineato un complesso panorama di ambiti e tecniche. La prima fase della ricerca ha interessato la ricostruzione dello stato dell’arte di tipo grafico ma anche storico-bibliografico su Enrico Prampolini e le sue scenografie finalizzato all’inquadramento teorico a sostegno della ricerca, per poi passare alla seconda fase di catalogazione e sistematizzazione del materiale al fine di estrarre momenti salienti della sperimentazione prampoliniana. Avvalendosi degli strumenti del disegno, con indagini proiettive e percettive, sono state infine tracciate ipotesi costruttive e letture interpretative di alcuni bozzetti scelti come exempla del rivoluzionario pensiero dell’Autore. Le ipotesi ricostruttive suggeriscono caratteri e ricorrenze del “modo” di Prampolini, rilevando allo stesso tempo le forti caratterizzazioni e incursioni grafiche nella rappresentazione della scena. Le opere di Prampolini rappresentano gli esordi di queste espressioni, dove si registrano tutti i caratteri dei linguaggi del tempo - quelli grafici e iconografici - ma anche quelli di stretta derivazione dai media, fotografia e cinema.