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Piero Fornasetti Porcelain Coaster Reclining "Adam” 7 of 8, 1965, Mid-century

$345

About

Plate number 7 from the quite rare and sought after of Fornasetti 1960’s design series, Adamo & Eva (1965). Compared to his much more severe standing “Adam" of a decade earlier, this series is. Much more sensual, playful and hedonistic depiction if the iconic nude figure. Yes, he is classically idealized in form and behavior (aloof, gazing into the distance) but Fornasetti plays with Hellenistic inspiration that distinctly locates the figure in the very sensual, human realm - his hair slightly disheveled and susceptible to a strong wind, his careful handling of a single fig leaf at his knee. Although the fig leaf turns back to graze the inner knee, it does not cover what one might assume it once did. This is Adam post ‘Fall,’ who is self-aware of his beauty and his body and is very much of the swinging 1960’s. Please see my store for more from this series.

Details

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    to anywhere in the world, arrives in 3-5 weeks.
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    Ships From: Brooklyn, NY
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About Piero Fornasetti (Designer)

The Italian artist and illustrator Piero Fornasetti was one of the wittiest and most imaginative design talents of the 20th century. He crafted an inimitable decorative style from a personal vocabulary of images that included birds, butterflies, hot-air balloons, architecture and — most frequently, and in some 500 variations — an enigmatic woman’s face based on that of the 19th-century opera singer Lina Cavalieri. Fornasetti used transfer prints of these images, rendered in the style of engravings, to decorate an endless variety of furnishings and housewares that ranged from chairs, tables and desks to dishes, lamps and umbrella stands. His work is archly clever, often surreal and always fun.

Fornasetti was born in Milan, the son of an accountant, and he lived his entire life in the city. He showed artistic talent as a child and enrolled at Milan’s Brera Academy of Fine Art in 1930, but was expelled after two years for consistently failing to follow his professors’ orders. A group of his hand-painted silk scarves, displayed in the 1933 Triennale di Milano, caught the eye of the architect and designer Gio Ponti, who, in the 1940s, became Fornasetti’s collaborator and patron. Beginning in the early 1950s, they created a striking a series of desks, bureaus and secretaries that pair Ponti’s signature angular forms with Fornasetti’s decorative motifs — lighthearted arrangements of flowers and birds on some pieces, austere architectural imagery on others. The two worked together on numerous commissions for interiors, though their greatest project has been lost: the first-class lounges and restaurants of the luxury ocean liner Andrea Doria, which sank in 1956.

Fornasetti furnishings occupy an unusual and compelling niche in the decorative arts: they are odd yet pack a serious punch. They act, essentially, as functional sculpture. A large Fornasetti piece such as a cabinet or a desk can change the character of an entire room; his smaller works have the aesthetic power of a vase of flowers, providing a bright and alluring decorative note. The chimerical, fish-nor-fowl nature of Fornasetti’s work may be its greatest strength. It stands on its own.

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