European studies blog

Exploring Europe at the British Library

91 posts categorized "Italy"

01 October 2024

How Bitter the Savour is of Other’s Bread? International Conference on European Political Refugees in the UK from 1800

Join us on Friday 15 November 2024 for the ‘European Political Refugees in the UK from 1800’ conference taking place in Pigott Theatre, Knowledge Centre at the British Library. This one-day in-person event will explore the rich history of political refugees from Europe who sought asylum in the UK from the 19th century onwards. International academics, scholars, and curators will investigate how European diaspora communities have woven themselves into the fabric of British society, fostering intercultural exchange and contributing to the shaping of modern Britain.

‘European political refugees in the UK from 1800’ conference poster with programme and list of speakers

‘European Political Refugees in the UK from 1800’ conference poster

The conference is organised by the European Collections section of the British Library in partnership with the European Union National Institutes of Culture (EUNIC) London. It will be accompanied by the exhibition ‘Music, Migration, and Mobility: The Story of Émigré Musicians from Nazi Europe in Britain’ and by events run by the conference partners.

The event is open to all and attendance is free, but registration is required. Booking details can be found here.

Programme

10:00 Welcome

10:05 Session 1: Artists

Moderator: Olga Topol, British Library

‘Leaving Home’ – Franciszka Themerson and Her Artistic Community in the UK, Jasia Reichardt, Art Critic and Curator

Austrian Musicians and Writers in Exile in the 1930s and 1940s, Oliver Rathkolb, University of Vienna and Vienna Institute of Contemporary and Cultural History and Art (VICCA)

On the Rock of Exiles: Victor Hugo in the Channel Islands, Bradley Stephens, University of Bristol

Music, Migration & Mobility, The Story of Émigré Musicians from Nazi Europe in Britain, Norbert Meyn, Royal College of Music, London

12:00 The stone that spoke screening

Introduction by Gail Borrow, ExploreTheArch arts facilitated by EUNIC London

12:15 Lunch

13:00 Session 2: Governments in Exile

Moderator: Valentina Mirabella, British Library

London Exile of the Yugoslav Government during the Second World War and its Internal Problems, Milan Sovilj, Institute of History of the Czech Academy of Sciences, Prague

The Spanish Republican Exile in Great Britain: General Characteristics and the case of Roberto Gerhard, Mari Paz Balibrea, Birkbeck, University of London

Fascism and anti-fascism in London's 'Little Italy' and Giacomo Matteotti's secret visit to London in 1924, Alfio Bernabei, Historian and Author

14:30 Break

14:45 Session 3: Building Communities

Moderator: Katya Rogatchevskaia, British Library

Tefcros Anthias: poet, writer, activist, and public intellectual in Cyprus and the Cypriot Community in London, Floya Anthias, University of Roehampton, London

The Journeys in Stories: Jewish emigration from Lithuania via United Kingdom, Dovilė Čypaitė-Gilė, Vilna Gaon, Museum of Jewish History, Vilnius University

Political migration from Hungary, 1918-1956, Thomas Lorman, UCL's School of Slavonic and East European Studies, London

16:15 Break

16:30 – 17:00 Session 4: Writing Diaspora

Moderator: Anthony Chapman-Joy, Royal Holloway, University of London, British Library

Newspapers published by 19th-century German political exiles in England, Susan Reed, British Library

Clandestine WWII pamphlets, Marja Kingma, British Library

We look forward to welcoming you to the conference in November. In the meantime, we invite you to discover a new display of works by Franciszka Themerson ‘Walking Backwards’, currently on show at Tate Britain, and to explore the history of Lithuanian Jewish immigration to the UK at the annual Litvak Days in London.

01 July 2024

Premio Strega 2024: behind the scenes

This year, I have been nominated as a judge for the Premio Strega 2024, Italy’s most prestigious literary prize. I had just over six weeks to read the dozzina, the best 12 books published in Italy in the past year, and help choose the winner.

Colour photograph of a pile of books nominated for the 2024 Strega Prize

12 books nominated for this year's Premio Strega Prize (Image from https://www.illibraio.it/)

On April 15, I received the link to download the books and felt immediately overwhelmed by the task. First to attract my attention was Valentina Mira, partly for the semi-homonymy with yours truly, but also because her both personal and political story Dalla stessa parte mi troverai had been accused of revisionism. 

Personal, almost biographical narratives feature heavily in this year’s dozzina. Melissa Panarello in Storia dei miei solid, mixes the story of her early literary fame with women’s taboo relation with money. Tommaso Giartosio astonishes with Autobiogrammatica, a bildungsroman and memoir about his relationship with language and a tribute to the 1963 Premio Strega winner, Natalia Ginzburg’s Lessico Famigliare (first Italian edition at 10765.k.23., English translation, Family Sayings, YC.1987.a.5661). The most personal and brave of all is Antonella Lattanzi, who in Cose che non si raccontano tells her cruel story of missed maternity with unapologetic honesty; a cathartic act to raise awareness in hope to help all women. I hope this book will be translated into English very soon.

Part family history, part essay, Daniele Rielli’s Il fuoco invisibile. Storia umana di un disastro naturale is a blend of many genres. It is a choral novel with Puglia’s millenary olive trees threatened by the bacterium Xylella fastidiosa as its protagonists. 

Donatella Di Pietrantonio’s L’età fragile is the favourite for this year. Like her last success, L’Arminuta, 2017 (first Italian edition at YF.2019.a.15048, English translation by Ann Goldstein, A Girl Returned, at ELD.DS.428465), this book talks about the relationship between mother and daughter and is set in her native region of Abruzzo, in a very rural environment which is echoed by her dry and simple writing style.

These works give a fantastic overview of the state of the art of Italian narrative and of the literary genres that evolve and intermix. They show an ageing country deeply affected by climate change, with younger generations abandoning the province and women and LGBTQ+ people fighting for their rights and their freedom. They tell of strong ancestral bonds and a passion for the Italian language and culture.

The winner will be announced on July 4, chosen by 700 jurors, 245 of which were nominated by the Italian Cultural Institutes worldwide for their interest in Italian language and literature.

Premio Strega was established in 1947, and among its winners are some of the best-known works of contemporary literature, such as Giuseppe Tomasi di Lampedusa’s Il Gattopardo (The Leopard) (1959) and Umberto Eco’s Il nome della rosa (The Name of the Rose) (1981). Awarded authors include Cesare Pavese (1950), Alberto Moravia (1952), Elsa Morante (1957), Alessandro Barbero (1986), Antonio Pennacchi (2010), and Sandro Veronesi (2020).

Valentina Mirabella, Curator, Romance Collections

02 October 2023

Forgotten stories still to be uncovered

What do you think links audio recordings of Italian traditional theatre from Florence, card diaries written in 1932 by archaeologists in Soviet Ukraine, a typescript of a play on the life of Romani people in Bulgarian, a photo album that belonged to a Roma family from Moldova, a page from a Muslim religious text originated in Bulgaria, and a journal published by Serbs in exile?

Image of handwritten card diaries, August 1935

Card diaries by T.M. Movchanoskiy, 1932 (EAP220/1/3) - Archival records from Saving archival documents of archaeological researches conducted during the 1920s and 1930s in Ukraine

Catalogue record of the digital audio collection

Catalogue record of the digital audio collection

All these image and many more were digitised through the Endangered Archives Programme. The physical archives that were under a threat of disappearance remain where they were, but digital images are available freely to anyone who would like to do research or learn. In the words of the Programme’s co-founder, Lisbet Rausing, and much echoed by the Head of the EAP Sam van Schaik , “the Endangered Archives Programme captures forgotten and still not written histories, often suppressed or marginalised. It gives voice to the voiceless: it opens a dialogue with global humanity’s multiple pasts. It is a library of history still waiting to be written”.

Handwritten title page of Ismail Osmanov. “Gypsy on the new way. A play in two parts, 1953”

Ismail Osmanov. “Gypsy on the new way. A play in two parts, 1953” (EAP067/4/1) –
Archival records from Preservation of Gypsy/Roma historical and cultural heritage in Bulgaria

Pictures from a Roma family album

Roma family album No 1 (EAP699/23/2) – Archival records from Safeguarding of the intangible Romani heritage in the Republic of Moldova threatened by the volatilisation of the individual unexplored collections (EAP699)

Here in the British Library, we research the collections and try to tell more people about them. Here is the most recent report from Anna Maslenova, a PhD student who came to work with us for three months on placement: ‘Contextualising a digital photographic archive of Siberian Indigenous peoples: PhD placement report’ . A Chevening fellow from Ukraine Nadiia Strishenets helped us to improve metadata for image related to the project Saving the original lifetime archive of the well-known Ukrainian poet, artist and thinker, T.H. Shevchenko (EAP657). If you have used any of the EAP collections in your research, we would be extremely grateful if you could tell us about your research and experience.

Manuscript page from Muslim religious texts in Bulgaria

Muslim religious texts (EAP1392/5/2) – Archival records from Rediscovering the cultural heritage of the Muslims in Bulgaria (1920-1950) (EAP1392)

Title page for The Serbian Fatherland: a monthly magazine for Serbian youth in exile

The Serbian Fatherland: a monthly magazine for Serbian youth in exile [1918] (EAP833/1/2/1/7) – Archival records from Safeguarding the fragile collection of the private archive of the Lazic family (EAP833)

The call for the 19th round of applications is open.

We hope that readers of this blog will help us to promote EAP, so that we could save more disappearing archives, uncover fascinating stories and capture forgotten voices from all over the world.

Katya Rogatchevskaia Lead Curator, East European Collections

25 August 2023

New light on the earliest ‘professor’ of Spanish in the UK?

Antonio Vieyra Transtagano – he used his toponymic ‘Transtagano’ ‘of Tras os Montes’ to distinguish himself from the baroque preacher Antonio Vieira SJ (1608-97) – was the first professor of Spanish at Trinity College Dublin and the first in the UK. (Ann Frost reminds us that at the time ‘professor’ was not the lofty title of today, and was largely used to mean ‘teacher’.)

Vieyra, like nearly all the language teachers in London, was a Protestant exile. His date of birth is often given as 1712. His first publication was in London, printed by John Nourse, who seems to have specialised in foreign languages (see ESTC and Foreign-language Printing in London).

Title page of A new Portuguese grammar

A new Portuguese grammar (London, 1768). 1568/3986

Title page of A dictionary of the Portuguese and English languages

A dictionary of the Portuguese and English languages (London, 1773). 1502/272

But he was a man of parts, who also wrote on Persian:

Brevis, clara, facilis ac jucunda, non solùm Arabicam linguam; Sed etiam hodiernam Persicam, cui tota ferè Arabica intermixta est, addiscendi methodus; quam non ita pridèm quinque speciminibus comprehensam, editamque; nunc autem novis, ac berè multis vocabulis locupletatam, (inter quae plurima celtica, imò et aliquot Asiatica et Americana, quo nonnullorum Asiae, Novique Orbis populorum felici origines investigentur exitu, reperiuntur) cum Arabicis aut Persicis affinitatem habentibus, in usum utriusque ling. tyronum, denuò edit ejusdem methodi auctor Antonius Vieyra, L.L. hisp. ac Ital. prof. reg. in Col. S.S. et ind. Trin. Dublin
(Dublin, 1789) 12903.c.20

He arrived in Dublin in 1779 to teach at Trinity College, a Protestant stronghold.

Andrew Wakeley’s best-selling textbook on the use of the compass (first printed 1665) was translated into Portuguese by one ‘Antonio Vieira’ for Antonio Fernandes, merchant of London, in 1762.

Title page of A agulha de marear rectificada …

Page from A agulha de marear rectificada …

A agulha de marear rectificada … composto por Andre Wakeley, mathematico … traduzido do original ingles, por Antonio Vieira, Professor de Geometria na Academia Magnanense (London, 1762) RB.23.a.40456 [The Mariners-compass rectified … composed by Andrew Wakeley, mathematician … translated from the English original by Antonio Vieira, professor of geometry in the Magnanensian Academy]

Could they be related – or even one and the same?

Our Vieira writes in his dedication to Fernandes that he left his homeland in his third lustrum: as a lustrum was a period of 5 years, his age on departure was between 11 and 15.

He calls himself (in 1762) ‘professor of geometry at the Academia Magnanense’ (Orbis Latinus identifies this as Meinvelt (or Mayenfeld), a region between the Rhine and Moselle rivers). He also calls himself ‘chaplain’.

He says explicitly that he turned to translating Wakeley ‘and others’ and needed a patron: a role which Fernandes fulfilled.

Although the humanities and sciences weren’t as divided as they are now, our man’s prologue is stuffed with literary references far beyond the needs of a work of Fachliteratur. He cites Camões – well chosen on account of the maritime feats sung in the Lusiads. He refers to his annotations on the Satires of Horace, Juvenal, Persius and Petronius and draws on classical culture to praise Fernandes as a new Cicero and Juvenal among the ancients and Salignac and Locke among the moderns.

The book has no printer or publisher named: did Vieira publish it himself?

The fullest account of the Professor’s life I have been able to see is the obituary in the Dublin Evening Post, Thursday 16 March 1797:

Doctor Vieyra, who died at the College, some short time since, was King’s Professor of Spanish and Italian. He was a most worthy man, an excellent scholar, and had a perfect knowledge of almost every existing language. Having outlived his family, and most of his acquaintance, he spent his latter days almost in retirement, but his name is well known, in the literary world. His Portuguese Dictionary is the best that has been published of that language. He was born at Estremor, [sic] in Portugal, in the year 1712, and tho’ certainly deserving a more fortunate lot, met with various calamities during his whole life. His father had been taken up by the inquisition, and a small estate he had of course seized. Dr. Vieyra was sent to Padua, and from thence to Rome, where he took the vows and entered in the order of Conventuales. Ganganelli (afterwards Pope [Clement XIV]) was in the same convent at that time, and they were of course well acquainted. The Doctor, after a residence of twenty years in Italy, got leave to return to Portugal, where he narrowly escaped the fate of his father – and was obliged to quit the country, & after many extraordinary adventures, settled in London where he was patronized by the Chevalier Pinto. He got the appointment in Dublin College, many years ago. From the time he quit the convent at Rome, he renounced the Roman Catholic religion. He had several children, who all died before him. – The family of the late Provost, and Lady Moira, were always particularly kind to him. He wrote several volumes on the derivations of words and names; had he spent half the time taken up in such uninteresting works in writing memoirs of his life, he would have gained more, and have given the public some very curious and extraordinary anecdotes.

Chevalier Pinto was Luís Pinto de Sousa Coutinho, Viscount Balsemão (1735-1804), Portuguese Minister Plenipotentiary in London, 1774-88. With his wife, Catarina de Lencastre, he made his home into a literary and scientific salon. He supplied George III with books on Portugal, used by Southey for his History of Brazil. (All this according to Rodrigues.)

On 9 November 1774 Pinto wrote to the Bishop of Beja in support of two scholars: Manuel Azulay, a Jew, son of Portuguese parents, who aspired to a job teaching Hebrew in Portugal (he promises not to draw attention to his religion); and a monk who has written a Portuguese grammar and dictionary and has knowledge of Arabic and Persian, who seeks travel money and access to becoming a secular priest (Malato Borralho, 58). (Pinto also aided António de Morais e Silva, father of Brazilian lexicography, when he fled the Inquisition: Rodrigues 98.)

Who could this be but our man? But wasn’t he a Protestant by then?

It may not be too fanciful to draw the following chronology: Antonio Vieyra Transtagano was born in 1717; left Portugal in his third lustrum; went to Rome, became a Protestant, went to Mayenfeld; arrived in London in need of a patron and where he slaved as a dogsbody translator; by 1762 he was teaching and publishing in London; in 1774 he had the patronage of Chevalier Pinto; in 1779 he was in Dublin.

Translators have always sought patronage, and translators were often hacks – one thinks of George Borrow translating for newspapers, or the women readers in the British Museum in the nineteenth century (described by Bernstein).

Professor Antonio Vieyra’s biography has many lacunae, but perhaps this book allows us to fill them in.

Barry Taylor, Curator Romance Collections

Barry Taylor, ‘St Anthony of Padua, alias Fernando of Lisbon’, European Studies Blog

Foreign-language printing in London, 1500-1900, edited by Barry Taylor. (Boston Spa, 2002) 2708.h.1059 

Maire Kennedy, ‘Antoine d’Esca: First Professor of French and German at Trinity College Dublin (1775-1784)’

Carmem Rodrigues, ‘Chevalier Pinto: “Um dos homens mais ilustrados que já viveram no Brasil”’, Fênix: Revista de História e Estudos Culturais, 19 (2022), 93-112

Maria Luísa Malato Borralho, "Por acazo hum viajante --" : a vida e a obra de Catarina de Lencastre, 1a Viscondessa de Balsemão (1749-1824) (Lisbon, 2008) YF.2010.a.8017

Ann Frost, The emergence and growth of Hispanic studies in British and Irish universities ([Great Britain]: Association of Hispanists, [2018]) YD.2019.b.1143

Dublin Evening Post, Thursday 16 March 1797 (Irish Newspaper Archives)

Susan David Bernstein, Roomscape: women writers in the British Museum from George Eliot to Virginia Woolf (Edinburgh, [2014?]) ELD.DS.47217

14 April 2023

The Art of Collecting and the Futurist Avant-garde

Next week, on Friday 21 April, the Italian Cultural Institute will host a round table about Futurist books, with Dr Günter Berghaus (University of Bristol) and Giacomo Coronelli (Libreria Antiquaria Pontremoli, Milan). Introduction and chair by Valentina Mirabella (Curator of Romance Collections, British Library). The event is free but places are limited and registration is required.

Front cover of Ardengo Soffici’s Bïf§zf + 18. Simultaneità e chimismi lirici

Front cover of Ardengo Soffici’s Bïf§zf + 18. Simultaneità e chimismi lirici. (Firenze, 1919), 20009.f.12.

The event is dedicated to the work and collecting of Chris Michaelides (1949-2017), former Curator of Romance Collections, British Library. Chris was co-curator of the exhibition Breaking the Rules: The Printed Face of the European Avant Garde 1900-1937 (2007) and we owe to him the acquisition of Marinetti’s tin Futurist book, Parole in libertà, and of an original edition of La prose du Transsibérien, Blaise Cendrars’s and Sonia Delaunay’s poem–painting.

Chris Michaelides in St Pancras Station

Chris Michaelides in St Pancras Station in 2016, courtesy of Günter Berghaus

The Futurist book was instrumental in the circulation of Futurist ideas and represents a very experimental phase in book production, paving the way for the book object, the artist’s book, advertising and design. This round table will look at its importance and at the history of collecting Futurist books, in Italy and in the UK.

On this occasion, Valentina Mirabella will present an article she recently published on the British Library Electronic Journal, which contains a survey of the Italian Futurist collections held at the British Library. The survey, arranged by date of acquisition, is a tool for studying the circulation of Italian Futurist books in the UK, based on acquisition data contained in the British Library Corporate Archives and on the books themselves.

The event is organized with the support of Libreria Antiquaria Pontremoli.

For more information, visit the website of the Italian Cultural Institute

30 December 2022

An A to Z of the European Studies Blog 2022

A is for Alexander the Great, subject of the Library’s current exhibition

B is for Birds and Bull fighting.

C is for Czechoslovak Independence Day, which marks the foundation of the independent Czechoslovak State in 1918.

D is for Digitisation, including the 3D digitisation of Marinetti’s Tin Book.

E is for Annie Ernaux, who was awarded the Nobel Prize in Literature in October.

Examples of Fraktur letter-forms from Wolfgang Fugger  Ein nützlich und wolgegründt Formular manncherley schöner Schriefften ... (Nuremberg  1533) C.142.cc.12.

Examples of Fraktur letter-forms from Wolfgang Fugger, Ein nützlich und wolgegründt Formular manncherley schöner Schriefften ... (Nuremberg, 1533) C.142.cc.12.

F is for Festive Traditions, from songs to fortune telling.

G is for Guest bloggers, whose contributions we love to receive! 

H is for Hryhorii Skovoroda, the Ukrainian philosopher and poet whose anniversary we marked in December.

I is for our series on Iceland and the Library’s Icelandic collections.

J is for Jubilees.

Cover of Abetka, a Ukrainian alphabet book for children

Abetka (Kyïv, 2005). YF.2010.a.18369.

K is for Knowledge systems and the work of Snowchange Cooperative, a Finnish environmental organisation devoted to protecting and restoring the boreal forests and ecosystems through ‘the advancement of indigenous traditions and culture’.

L is for Limburgish, spoken in the South of the Netherlands.

M is for Mystery – some bibliographical sleuthing.

N is for Nordic acquisitions, from Finnish avant-garde poetry to Swedish art books.

O is for Online resources from East View, which are now available remotely.

Pages from Giovanni Bodoni and Giovanni Mardersteig, Manuale tipografico showing letters M and N

Giovanni Bodoni and Giovanni Mardersteig, Manuale tipografico, 1788. Facsimile a cura di Giovanni Mardersteig. (Verona, 1968) L.R.413.h.17.

P is for our wonderful PhD researchers, current and future.

Q is for Quebec with a guest appearance by the Americas blog featuring the work of retired French collections curator Des McTernan. 

R is for Rare editions of Ukrainian poet Taras Shevchenko’s Kobzar.

S is for Samizdat and the Library’s Polish Solidarity collection.

T is for Translation and our regular posts to mark Women in Translation Month.

Page from Alphabet Anglois

Alphabet Anglois, contenant la prononciation des lettres avec les declinaisons et conjugaisons (Rouen, 1639). Digital Store 1568/3641.(1.)

U is for Ukrainian collections and our work with Ukrainian partners.

V is for Victory – a contemporary Italian newspaper report of the Battle of Trafalgar. 

W is for Richard Wagner who wrote about a fictional meeting with Beethoven.

X is for... (no, we couldn’t think of anything either!)

Y is for You, our readers. Thank you for following us!

Z is for our former colleague Zuzanna, whom we remembered in February.

Church Slavonic alphabet from Azbuka, considered the first dated book printed in Ukraine.

Azbuka ōt knigi osmochastnye̡, sirěchʹ grammatikii (Lviv, 1574). Digital Store 1568/3641.(1.)

26 August 2022

Women in Translation Month 2022 (Part 1)

August is Women in Translation Month, a 2014 initiative aimed at celebrating and promoting women writers in translation, as well as their translators and publishers. As in previous years, we are highlighting a selection of books from across the European collections that we have recently enjoyed. We hope you enjoy them too.

Cover of Bianca Bellova's The Lake

Bianca Bellova, The Lake, translated by Alex Zucker (Cardigan: Parthian, 2022) ELD.DS.698424
Chosen by Olga Topol, Curator Czech, Slavonic and East European Collections

The Lake won the Czech Magnesia Litera Book of the Year Award and the EU Prize for Literature in 2017. It is a surreal coming of age story that questions the relationship between humans and nature. In a fictional world set somewhere in between a post-apocalyptic future and the post-USSR past, a boy is trying to uncover the mystery of his mother’s disappearance. It is a vivid tale about a devastated, cruel world in which a child is growing into a man while searching for his identity. Dark and beautiful.

Cover of Stefania Auci's The Florios of Sicily: a novel featuring a drawing of three people sitting by the sea

Stefania Auci, The Florios of Sicily: a novel, translated by Katherine Gregor (HarperCollins, 2020). Awaiting shelfmark
Chosen by Valentina Mirabella, Curator Romance Collections

Stefania Auci’s bestselling novel The Florios of Sicily tells the story of an entrepreneurial family that, starting from poverty in the early 19th century, built a fortune exporting Sicilian products such as Marsala wine and invented canned tuna as we know it. This is a well-documented saga, linking decades of Italian history to the Florio dynasty, which shook the feudal immobility and introduced industrialization in Sicily. Auci is particularly good at describing the places and underlining the role of women. We owe the English translation to Katherine Gregor who, impressively, is a literary translator from Italian, French and, on occasion, Russian.

Cover of Kiki Dimoula, The Brazen Plagiarist: Selected Poems

Kiki Dimoula, The Brazen Plagiarist: Selected Poems, translated by Cecile Inglessis Margellos and Rika Lesser (New Haven, Conn.; London: Yale University Press, 2012), YC.2013.a.11561
Chosen by Lydia Georgiadou, Curator Modern Greek Collections

The Brazen Plagiarist is the first English translation of a wide selection of poems from across Kiki Dimoula’s oeuvre bringing together some of her most captivating and poignant works. The highly-praised and multi-award winning Greek poet embarks on a journey to a ‘magnificent’ though ‘unknown to her’ language, ‘filled with apprehension’ but grateful to be ‘accompanied by an excellent letter of introduction – their translation’. Award-winning translators Cecile Inglessis Margellos and Rika Lesser, whom Dimoula herself considers ‘heroic’, indeed rise to the challenge of recreating the poet’s mysteriously uncanny yet inexplicably familiar writing.

15 June 2022

Ceramics and the Avant-Garde: the life of Tullio d’Albisola

During the interwar years, the focus of Italian Futurism expanded from the fine arts into a variety of media and mass media that were easily accessible to the wider public. On the one hand, the Futurists were attracted by new forms of communication intended for a wide audience, like the radio and advertising; on the other, they engaged with the large market of commercial items, such as furniture and household objects, that entered the majority of the Italian dwellings. Their intent was a real union between art and everyday life, a total rejection of traditional art hierarchies going beyond the move by the fine artist into the decorative arts, which would become increasingly popular in postwar Italy with artists like Fausto Melotti, Lucio Fontana, and Giacomo Manzù, to mention just a few.

Coppa amatoria, Tullio d’Albisola, 1930

Coppa amatoria, Tullio d’Albisola, 1930, from Enrico Crispolti, La ceramica futurista da Balla a Tullio d’Albisola (Florence: Centro Di, 1982) 3113.170350 v 151

It is within this background that Tullio Spartaco Mazzotti, an artist and entrepreneur from Albissola, a small community on the Ligurian coast, invited the Futurists to design ceramic objects that he could produce in his father’s factory, the Ceramiche Giuseppe Mazzotti Albissola. In his project he involved the founder of Futurism, Filippo Tommaso Marinetti, who coined his Futurist pseudonym Tullio d’Albisola, and many artists, architects, and poets, like Benedetta Cappa, Bruno Munari, Farfa (Vittorio Osvaldo Tommasini), Fortunato Depero), and Enrico Prampolini. As described in the Manifesto Ceramica e aeroceramica (Ceramics and Aeroceramics) that he co-wrote with Marinetti in 1938:

‘[…] Tullio d’Albisola brings into ceramic the aesthetic of the machine […] speed […] cosmic forces […] simultaneities of contrasting or harmonizing emotional states […]’

Photograph showing (left to right) Farfa, Tullio d’Albisola and Marinetti in front of ceramics by Farfa

Photograph showing (left to right) Farfa, Tullio d’Albisola and Marinetti in front of ceramics by Farfa, 1930, from La ceramica futurista da Balla a Tullio d’Albisola.

Despite the number of Futurist tiles and ceramics manufactured in Italy during this time, d'Albisola was the only one who reached a wider public. With their unusual shapes and abstract decorations, his ceramics openly challenged the more conventional pottery of Sevrès, France, the fine porcelains from Vienna, and the contemporary ceramic production in Italy that was largely based on classical ideals.

During his adhesion to Futurism, d’Albisola applied his creativity and experimental personality to a variety of media, besides ceramic design, and was an enthusiastic supporter of the ideas and projects of his Futurist fellows. For example, he convinced his old father to entrust a young Futurist architect, Nicolaj Diulgheroff, with the project of a new location for the factory, which was completed in 1934 and is today one of the remaining examples of Futurist architecture in Italy. He made sculptures, wrote poems, designed the factory’s graphic identity (from the letterhead, to the advertising), and engaged at different rates with photography, cinema and painting. The genuineness and delicacy of his poetry is in apparent contrast with his most vanguard outputs, like the famous Futurist tin-books (‘Lito-latte’), which he financed entirely, although the project was eventually a flop.

Litolatta logo

Litolatta logo, from Filippo Tommaso Marinetti/Tullio d’Albisola Parole In Libertà Futuriste Olfattive Tattili Termiche (Rome, 1932). HS.74/2143, Courtesy of Archivio Tullio d’Albissola

Thanks to the success of their Futurist ceramics, the popularity of the Mazzotti factory increased exponentially, and the name of d’Albisola began circulating within the artistic circuits in Italy and abroad. New avant-garde movements could be found in Albissola in the 1950s and 1960s, such as Spatialism, the Arte Nucleare, and Co.Br.A (the latter developed in Albissola the M.I.B.I., ‘Movement for an Imaginist Bauhaus’). Although Futurism was long gone, the Mazzotti factory continued to be one of the favorite workshops of the international Avant-Garde, where artists like Fontana, Manzù, Aligi Sassu, Agenore Fabbri, Sandro Cherchi, Asger Jorn, and Karel Appel, realized the striking post-modernist sculptures that we all know. ‘The modern ceramic art was born in Albisola’, Italian architect and critic Gio Ponti wrote.

Casa Mazzotti

Casa Mazzotti, designed by Bulgarian Futurist Architect Nicolay Diulgheroff in the years 1930 to 1932 for Tullio d'Albisola, who lived and worked here until his demise. It is a rare example of original futurist architecture. © UrbanItaly

On divergent but parallel paths, both d’Albisola and Ponti supported, for their entire life, the resurgence of ceramic practice, and assisted and guided in their careers worldwide renowned artists like Fontana and Melotti. Ceramics, however, continued to be largely seen as unsuitable for making art: as Melotti admitted in an interview in 1984, asking a sculptor to make ceramics was like ‘asking a poet to write advertisements’. (Tre ore con Fausto Melotti, television interview conducted by Antonia Mulas for RAI Italy)

Eleonora Traversa, Royal Holloway University of London

References:

Enrico Crispolti, La ceramica futurista da Balla a Tullio d’Albisola (Florence: Centro Di, 1982) 3113.170350 v 151

Danilo Presotto (ed.), Quaderni di Tullio d’Albisola, vol. I-IV (Savona: Editrice Liguria, 1981-87) P.421/871

Ursula Lehmann-Brockhaus, ‘Incontro Internazionale della Ceramica’ Albisola, Sommer 1954 (Rome: Campisano Editore, 2013)

The event Italian Collections in UK Libraries: Past, Present & Future will take place on Friday 17 June at the British Library. This event is now sold out.

07 June 2022

Italian Collections in UK Libraries: Past, Present & Future

We are delighted to bring to you a day-long exploration of the amazing diversity of 600 years of collecting Italian books in the UK. The Study Day, organized by the Italian Studies Library Group (ISLG), will be in person at the British Library Knowledge Centre, (Eliot Room), on Friday 17th June 2022. Booking essential, on the BL website

Portraits of Italian writers

Portraits of Italian writers

The programme is as follows:

09:30: Registration
10:00: Welcome: Janet Zmroczek (Head of European and American Collections, The British Library)
10:05: Welcome: Andrea Del Corno' (Italian Specialist, The London Library, ISLG Chair)

Past
10:10: Abigail Brundin (Director, British School at Rome) and Dunstan Roberts (University of
Cambridge), ‘The Italian collections in National Trust and English Heritage Libraries’

10:40: Tudor Allen (Senior Archivist for Camden Council), ‘Sources for the Study of London's
Italian Quarter: Archives of the Mazzini-Garibaldi Club and the Italian Hospital’

11:00: Stephen Parkin (Curator Printed Heritage Collections, The British Library), ‘The Colt
Hoare collection of Italian topographical books in the British Library’

11:20: Discussion
11:30: Tea and coffee

Keynote Speaker
11:45: Giuliana Pieri (Professor of Italian and the Visual Arts, Head of the School of
Humanities, Royal Holloway University), ‘Beyond Words and Images: Re-thinking twentieth-century
Italian Books’

Present
12:15: Julianne Simpson (Rare Books and Maps Manager, John Rylands Library) and Stephen
Milner (Serena Professor of Italian Studies, University of Manchester) ‘Le Tre Corone: Italian
collections at the John Rylands Library – projects and promotion’

12:45: Tabitha Tuckett (Rare Books Librarian, UCL) ‘Italian rare books and archives in UCL
Special Collections’

13:05: Cristina Dondi (Professor of Early European Book Heritage, University of Oxford)
‘Mapping the early Italian book heritage around the UK: From distribution to dispersal‘

13:35: Discussion
13:45: Buffet lunch

Keynote speaker
14:45: Michele Casalini (CEO, Casalini Libri) ‘Collections aren't built in a day: Changes and
trends in Italian collecting’

Future
15:15: Round table chaired by Andrea Del Corno', with Prof Cristina Dondi, Andrea Mazzocchi
(Bernard Quaritch Rare Books and Manuscripts), Valentina Mirabella (Curator, Romance Collections,
The British Library), Prof Giuliana Pieri, and Maria Riccobono (Librarian, Italian Cultural Institute).

16:30: Katia Pizzi (Director, Italian Cultural Institute)

11 May 2022

The Art of Noises

“In antiquity, life was nothing but silence. Noise was really not born before the 19th century, with the advent of machinery. Today noise reigns supreme over human sensibility.” Luigi Russolo

Photograph showing Luigi Russolo and his collaborator Ugo Piatti with their intonarumori

Photograph showing Luigi Russolo and his collaborator Ugo Piatti with their intonarumori, from Luigi Russolo, L’arte dei rumori (Milan, 1916). X.629/13035.

Futurism was a multidisciplinary artistic and social movement. Futurists wanted to reinvent all art forms: painting, sculpture, literature, photography, architecture, book production, dance, even cuisine... Futurist ideals were very radical, both artistically and politically.

Italian futurists, led by Filippo Tommaso Marinetti, had a huge impact on the avant-garde of the twentieth century and gave popularity to art manifestos. Of the many futurist manifestos, the 11 March 1913 one titled L’arte dei rumori. Manifesto futurista (The Art of Noises. Futurist Manifesto), by Luigi Russolo, had a very long-lasting influence.

Portrait of Luigi Russolo

Portrait of Luigi Russolo, L’arte dei rumori.

L’arte dei rumori is a manifesto of futurist music. It was subsequently published as a monograph in 1916 in Milan by Edizioni Futuriste di “Poesia”, Marinetti’s own publishing house and official publisher of Italian futurists since 1905. The monograph, also titled L’arte dei rumori, expands on the 1913 manifesto and includes pictures and musical scores.

This book is the first to introduce the notions of noise as sound and sound-art. Noise was a product of the industrial revolution and therefore, for Russolo, futuristic. Onomatopoeic and cacophonic ‘words in freedom’ were already linked to the concept of noise as poetry in the early productions of futurist literature, so noise as sound appears a natural evolution of Marinetti’s Parole in Libertà.

The author of this book, painter turned musician Luigi Russolo, categorizes various types of noises and also created 21 rudimentary experimental noise making machines able to reproduce some noises for the futurist orchestra: intonarumori, including ‘howlers’, ‘bursters’, 'cracklers', ‘hummers’. These Leonardesque magic boxes with levers and trumpets were used for a composition, which reproduces the noise of the urban industrial soundscape: Risveglio di una città (Awakening of a city).

Concerts with intonarumori were organized in 1913 in Modena, and in 1914 in Milan and London, with 10 shows in the Coliseum. Most of Russolo’s instruments were destroyed during WWII and there is only one surviving phonograph recording of the instruments playing together with an orchestra. The full score of Risveglio di una città is also missing, apart from the two pages of notation reproduced below. Nevertheless, attempts to rebuild Russolo’s instruments and reproduce his musical performances happened in the course of the last century.

Score for Risveglio di una città

Score for Risveglio di una città, from L’arte dei rumori.

Russolo’s efforts to emancipate noises and to broaden the definition of music were truly revolutionary, but futurist music was not well received by the audience. The public was not ready at the time. However, the use of synthesizers, the invention of noise music, concrete music, soundscape art, sound-art, electroacoustic and electronic music, are all linked to Russolo’s production of writings, music, and instruments. Musicians who were directly influenced by his work include Pierre Schaeffer, Edgard Varèse and John Cage.

Valentina Mirabella, Curator, Romance Collections

Further reading

Claudia Salaris, Marinetti Editore, (Bologna 1990) YF.2009.a.20485

Luigi Russolo, The Art of Noise (futurist manifesto, 1913), translated by Robert Filliou, Originally published in 1967 as a Great Bear Pamphlet by Something Else Press, 2004 

Barclay Brown, ‘The Noise Instruments of Luigi Russolo’ Perspectives of New Music, vol. 20, no. 1/2, 1981, pp. 31–48 PP.8000.mn 

If you are interested in finding out more about our Italian collections, join us at the upcoming event: Italian Collections in UK Libraries: Past, Present & Future, on Friday 17 June, in person at the British Library. Bookings are open on the BL website

 

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