22 MARCH-15 APRIL 2005
THE
I TA L I A N L I G H T :
1945
Castiglioni Taraxacum c 1960
1980
design by
p. tantsits
TomTHOMAS
318 East 59th Street, NYC
www.tomthomasgallery.com
(212) 688 6100
'Let there be
A
Studio Tetrarch for Valenti 'Pistillo'
s
the
phrase
from Genesis
suggests, light is
elemental to the existence of
the universe.
light...'
While the exploration of the nature of light can belong
to no country or group, exciting progress was spearh e a d e d b y I t a l i a n c r e a t i v i t y a f t e r t h e e n d o f Wo r l d Wa r
II. Italy inherited a long tradition as a design powerhouse since its architectural achievements during the
Ro m a n E m p i r e . I t w a s t h e I t a l i a n Re n a i s s a n c e t h a t
i g n i t e d t h e r e s u r g e n c e o f We s t e r n C i v i l i z a t i o n o v e r
600 years ago. Since that time, architects, artists and
t r a v e l e r s o f t h e G r a n d To u r h a v e l o o k e d t o I t a l y f o r
their inspiration.
Not only does light connote “lightness” (a release
from physical weight and a free-ness of being), it
suggests a release from darkness and ignorance. Such
is the nature of light: it has the power to transform, to
enlighten.
The invention of the electric light has
h e l p e d h u m a n i t y g a i n c o n t r o l o f i t s d e s t i n y. M a n c a n
regulate a cycle of light and darkness at will, and
humanity has continued to expand this quest qualitat i v e l y.
Studio Tetrarch for Valenti 'Pistillo' c 1969 (lit)
The Italian Light: 1945-1980
TomTHOMAS
www.tomthomasgallery.com
[email protected] 212 688 6100
All life proceeds from
light, and the nature of
man's existence has been transformed by the invention
of the electric light.
3
Italy transformed itself from a semi-industrial culture,
reliant on its classical past, to a cultural giant producing ideas and designs that influenced the whole
world. Whether by means of sharp and abstract or
sleek and organic forms, Italy created designs that
were colorful, imaginative and glamorous. Inventive,
chic and bold became synonyms for Italian design.
Small passionate entrepreneurial families in partnership with extremely talented designers created pieces
unheralded anywhere; they excited the imaginations
of the world and fulfilled artistic cravings of the public. The combination of intellect and passion formed
an
intellectual
discourse on the
meaning of these
exotic
objects.
E x c i t e m e n t ,
invention
and
passion abounded.
Gino Sarfatti for Arteluce attr. c 1950
Wall applique, Gino Sarfatti for Arteluce, 1950
The Italian Light: 1945-1980
TomTHOMAS
www.tomthomasgallery.com
[email protected] 212 688 6100
Whether
it was the
'psychic residue'
of these past design
achievements that pervaded
Italian creative consciousness
(later captured by the phrase 'Made in
Italy') or a response to a world recovering
f r o m b e i n g t u r n e d o n i t s h e a d b y t w o Wo r l d
Wa r s , t h e r e e x i s t e d a n o p e n n e s s f o r n e w a p p r o a c h e s .
The Italians responded with inventive, modern
answers.
5
In the late sixties lighting became a part of a larger
societal critique and rebellion on the part of designers. These are symbolic properties, with concerns
ranging from the political to the spiritual.
Mazzega Murano c 1970
One could say that Italian lighting is simply that which
i s d e s i g n e d b y a n I t a l i a n o r m a d e i n I t a l y. B u t u n d e r standing and analyzing lighting design is more complex. The difficulties here arise from examining the
function of lighting -- how we exist with it and are
influenced by it. There are some competing concerns.
On a personal, concrete level we all know light as a
practical element designed to illuminate our spaces;
a r c h i t e c t s , h o w e v e r, m a y d e s i r e i t t o b e a s e a m l e s s
architectural element. On the other hand, lighting
can be sculpture (with aesthetic functions that exceed
any plan). Not only does light possess line, form, volu m e , c o l o r, b u t i t i s h a s a l u m i n e s c e n c e t h a t c o n t a i n s
i t s o w n p r o p e r t i e s . M o r e o v e r, l i g h t m a y f u n c t i o n a s a
socio-cultural artifact that implies statements about
the society we live in.
How did Italian design achieve prominence?
Movements are not isolated from social events; neither do they occur without protagonists bringing them
t o f r u i t i o n . I t a l y i s a n a t i o n o f f a m i l i e s . T h e p o s t- w a r
design fire was lit by small family run companies with
passionate visionary leaders, key to the design
p r o c e s s t h e m s e l v e s . I n p a r t i c u l a r G i o Po n t i ' s Fo n t a n a
Arte, Gino Sarfatti's Arteluce, Luigi Caccia
D o m i n i o n i ' s A z u c e n a , a n d A n g e l o Le l l i ' s A r r e d o l u c e
are the among the important voices of creativity to
launch the Italian revolution.
Wo r k i n g f o r
Arredoluce in the early years were luminaries “to be”
-- Achille Castiglioni and Ettore Sottsass. Castiglioni
working for Flos became the leading voice of an elegant rationalism in design. Sottsass would go on to
create one design experiment after another (Studio
Alchemia and Memphis). These pieces will continually raise the intellectual debate surrounding design
a n d s o c i e t y. A l s o i m p o r t a n t a r e O s t u n i ' s O - l u c e a n d
the company Stilnovo.
The Italian Light: 1945-1980
TomTHOMAS
www.tomthomasgallery.com
[email protected] 212 688 6100
What is Italian design / lighting?
Questions arise about analyzing lighting.
Does
examining its technological and engineering concerns (as to how well it lights a space) fit within a
whole architectural plan, or does it act as a statement of beauty fulfilling sculptural and aesthetic concerns? Do we analyze what function lighting means
in our society or what psycho-spiritual effects various
lighting has on us? Italian design has activated all
these points of concern, yet marvelously the Italians
embraced these concerns by both creating the objects
and sparking the intellectual dialog that surrounded
them.
7
D u r i n g t h e p o s t- w a r f o r t i e s m a n y o f t h e p i e c e s t h a t
would be produced later in the
fifties were designed. Gio
Po n t i r e m a i n e d t h e c o n s i s t e n t
figure in Italian design before
and after WW II. His ability to
synthesize the classical history
of Italian design and recast it
in an exciting modern context
became his identifying trait.
Gino Vistosi, Hand-blown c 1950
Italy's cultural and economic existence maintains strong traditions in
c r a f t s m a n s h i p . We a v i n g , l e a t h e r w o r k , s i l k , c e r a m i c s , f a u x p a i n t i n g,
w o o d w o r k , m a s o n r y, m a r b l e / s t o n e
work and glass production have
been among the chief industries.
Tr a d i t i o n s a r e k e y i n m a i n t a i n i n g
balance during times of chaos
and change. It is only normal
that after the end of a crisis
period that one would
return to past traditions,
re-establishing personal, economic and
cultural balance.
H a n d - b l o w n
lighting from the
glass factories of
Murano (such as
B a r o v i e r,
Ve n i n i
and
Seguso)
restored the normalcy and continuity
t o t h e p o s t Wo r l d
Wa r I I e n v i r o n m e n t .
The comfort of
brightly
lit
Barovier e Toso c 1945
chandeliered
s p a c e s p r o v i d e d g a i e t y, n e w
hopes and optimism.
It stabilized the situation until new ideas
could resurface in Italy that would trans i t i o n i t f r o m a p o s t- f a s c i s t p e r i o d t o o n e
with new democratic hopes, fostered by
rationalist architecture.
1950:
Growth and Optimism
H o w e v e r, i t i s G i n o S a r f a t t i o f
Arteluce (working sometimes
with Victoria Vigano) that
would elevate Italian lighting
design to a poetic level in the
post war period. Sarfatti created
visionary
modernism,
both lyrical and humanistic.
Sleek, linear abstracted forms
take prominence and much of
his work has a hand-crafted
feel (the pieces are often constructed with rods of metal).
There is often an exciting dynamism and fluidity of
slinky lines and angles that gives way for flex and
articulation. The mold-ability of these pieces reflected a new modern sensibility: that the world was
always in flux yet infinitely modifiable. A renewed
faith in science and technology is reflected in the
s u p e r b e n g i n e e r i n g o f t h e s e p i e c e s . Fu r t h e r m o r e ,
color provides even more excitement in early Italian
design as exotic products ranged from colors deeply
saturated to a subtle variety of pastels.
The Italian Light: 1945-1980
TomTHOMAS
www.tomthomasgallery.com
[email protected] 212 688 6100
1945:
Return to Normalcy
9
1960:
Economic Boom and Utopian Fantasy
San Paolo c 1955
Not only did utopia seem
realizable, but as exploration
i n s p a c e g r e w, t h e f a n t a s y o f
an
unlimited
future
progressed.
Fontana Arte attr. to Gio Ponti c 1955
The Italian Light: 1945-1980
TomTHOMAS
www.tomthomasgallery.com
[email protected] 212 688 6100
Tobia and Afra Scarpa 'Fantasma' 1961
Gino Sarfatti for Arteluce c 1950
Te c h n o l o g i c a l
progress and economic prosperity released Italy from the
its grip on the past. Italian
design made way for gaily
designed products that celebrated the Italian lifestyle
and built a new mythology
around it. Italians were
seen as the chic, sensuous
trendsetters and the phrase
'Made in Italy' was reborn.
Fa s h i o n , c a r s a n d f u r n i t u r e
became the domain of
the Italians and a rational architecture stressed a
unity of functionality and
form that provided an
inspiration for a better
life.
11
A
new
generation
of
designers
like
Joe
Columbo, Vico Magistretti,
Gae
Aulenti
and
Elio
Martinelli fostered a new
modernism.
They utilized
these new materials to
explore radically new formal
concerns.
Rational
design became enamored
with futurism as the image
of a future on the moon
and in the stars became
1968:
rAdiCAl DeSigN
IMplosiOn and New Environments
In the middle of the sixties the economic fruits of
technology were harvested, but designers began
to realize that they had
not influenced life around
t h e m i n a n y m a t e r i a l w a y.
Wa r, p o v e r t y a n d a c o n tinued degradation of the
natural environment continued despite unlimited
technological progress.
The
technology
and
design revolution that
was supposed to bring
happiness
instead
brought the realization
that life was imploding
Archizoom 'San Remo' c 1968
from
the
inside.
Designers became more alienated and sought new
means to express themselves. This lead to the birth of
anti-art, anti-design and the creation of new sustainable model environments. Some designers stopped
designing completely and resorted to polemical and
conceptual/political statements to effect change.
Lighting design stood at the forefront of this antidesign revolution. Many designers deviated from
modernist ideology -- its pure, clean lines and rational forms -- and formed experimental groups. Florence
and Milan became centers for experimentation.
ever present in consciousness.
Angelo Lelli for Arredoluce 'Cobra' c 1964
The Italian Light: 1945-1980
TomTHOMAS
www.tomthomasgallery.com
[email protected] 212 688 6100
Fr e e d o m a n d a n e w
inventiveness continued, resulting in the
technological society that had been
long
awaited.
Increased production and new markets
heralded
“Made in Italy ” as
a signature for the
glamorous
Italian
l
i
f
e
s
t
y
l
e
.
P
i
o
n
eering
Vico Magistretti 'Guinone' 1969
new materials became a
striking hallmark of Italian
inventiveness.
Molded plastics, fiberglass, perspex, plexi-glass, chrome and even halogen all
premiered in Italian design. As the decade progressed
the style of pieces changed from rational inspired design
to design influenced by
space travel and ergonomics.
13
T h e m o o d w a s s o m b e r, y e t d e s i g n e r s i n I t a l y w e r e n o t
followers; they led a cultural revolution. Gone was the
idea that technology would solve all problems.
Designers realized they were as much part of the problem as politicians. If all is as Carl Jung said, 'shadow
and light,' the shadows predominated. Designers created ironic, even cynical pieces, reflecting this mood.
Others sought to
create
pieces
that had multiuses so as not to
overtax the envir o n m e n t .
E v e n t u a l l y
d e s i g n e r s
embraced
the
dark side or limitations of their
profession.
Centro Recerche Arte Industria Lissone Italia 'Cubo di Teo' c 1970
Wit and Play
In
this era design
groups emerged with
a n e w m a t u r i t y, h u m o r a n d
refreshing sense of cynicism
that reflected the history of
design while toying with a
witty perspective on it.
Mario Bellini 'Area 50' c 1974
A s p o s t- m o d e r n i s m w a s b o r n i n a r c h i t e c t u r e , n e w
design groups emerged in Italy such as Studio
Alchemia and later Memphis led by luminaries
such as Ettore Sottsass, Alessandro Mendini and
Mario Bellini. Architects and designers found they
could make fun of themselves in their creations.
Mutated classical and modern forms were collaged together as were bright, contrasting colors.
The practicality of designs became subordinate to
the insanity and entertainment that new designs
could achieve. This was all done to parody the
seriousness the design profession had accorded
i t s e l f.
The Italian Light: 1945-1980
TomTHOMAS
www.tomthomasgallery.com
[email protected] 212 688 6100
New design groups arose
with names like Archizoom,
Superstudio
and
U F O.
While
some
designers
rebelled
against
modernism,
others
evoked
organic forms as an affirmation
of
neglected
nature.
Others
created
ideal
environments
in
plexi-glass
while
some
experimented
with
new
Mario Bellini c 1974
forms of light, including
the first experiments with residential halogen and low
voltage.
1973-80:
15
Maturity implies
realizing the limits of
one's power and influence and it was as if
things had come full
circle. Italian designers had not achieved
so much fame and
power since the
Re n a i s s a n c e . I t a l i a n
design had announced
to the world that all
was possible and up
for grabs; bold designs
had been created and
the image of Italy as a
design power became
Masayo Ave 'Genesi Stella' late 20th century
cemented in the intenational consciousDespite these accomplishness.
ments, designers realized
they still had limited power
when it came to changing
s o c i e t y a s a w h o l e . Pe r h a p s
this is the frontier that waits
for the next generation of
revolutionaries.
Barovier e Toso designed
c 1930 produced until 1960
(2 of 4)
Barovier e Toso Table Lamps
c 1930
Brusotti glass standing lamp
c 1940
C A T A L O G U E O F
OBJECTS
Barovier e Toso
c 1945
Anonymous Sconces (2)
c 1950
Gino Sarfatti for Arteluce attr.
c 1950
Stilnovo Reflector Fixture attr.
c 1950
Barovier e Toso
c 1950
Cenedese
c 1950
© To m T h o m a s , Fe b . 2 0 0 5
Etorre Sottsass for Memphis 'Bay' c 1983
The Italian Light: 1945-1980
TomTHOMAS
www.tomthomasgallery.com 212 688 6100
17
Gino Sarfatti for Arteluce
c 1950
Gino Vistosi, Hand-blown
c 1950
Modernist Standing Lamp
c 1950 (detail)
Castiglioni Gatto Picolo
c 1960
Castiglioni Taraxacum
c 1960
Tobia and Afra Scarpa
'Fantasma'
1961
Murano
c 1950
Murano
c 1950-60
Scolari for Stilnovo
c 1950
Castiglioni
'Black & White'
1962
Angelo Lelli for Arredoluce
'Cobra'
c 1964
Elio Martinelli
'Cobra'
c 1965
Stilnovo
c 1950
Tito Agnelli for O-luce
1954
Fontana Arte
attr. to Gio Ponti
c 1955
Fontana Arte
c 1965
Joe Columbo attr.
c 1965
Martinelli
c 1965
San Paolo
c 1955
Gino Sarfatti #1073
for Arteluce
1956
Brass Fontana Arte Sconces
c 1960
Vico Magistretti
'Eclisse'
c 1965
Elio Martinelli
'Serpente'
c 1966
Joe Columbo
'Spider'
c 1966
The Italian Light: 1945-1980
TomTHOMAS
www.tomthomasgallery.com / [email protected]
19
Joe Columbo for O-luce
c 1967
Fontana Arte style
c 1968
Hsoe for Valenti
c 1970
Guzzini
c 1970
Guzzini
c 1970 (detail)
Gino Sarfatti for Arteluce
# 600
1968
Peduzzi-Riva
'Vacuna'
1968
Vico Magistretti
'Dalu'
c 1968
Mazzega
c 1970
Mazzega Murano
c 1970
Reflector Fixture
c 1970
Renato Toso for Leucos
1969
Studio Tetrarch for Valenti
'Pistillo'
c 1969 (detail)
Vico Magistretti
'Guinone'
1969
Target-Sankey
c 1970
Stilnovo mobile
fixture
c 1970
Lamperti
'Pelota'
c 1971
Centro Recerche Arte
Industria Lissone Italia
'Cubo di Teo'
c 1970
Alessandro Mendini
c 1970
Angelo Mangiarotti
c 1970
Gae Aulenti for Artemide
'Pileino'
1972
Bilumen
c 1975
The Italian Light: 1945-1980
TomTHOMAS
www.tomthomasgallery.com 212 688 6100
21
Mario Bellini
'Area 50'
c 1974
Mario Bellini
c 1974
Mario Bellini
c 1974
Magistretti c 1979-80
Murano c 1950
Masayo Ave
'Genesi Stella'
late 20th century
Magistretti
c 1979-80
Etorre Sottsass for Memphis
'Bay'
c 1983
The Italian Light: 1945-1980
TomTHOMAS
www.tomthomasgallery.com / [email protected]
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