Prima Esposizione Internazionale d'Arte Decorativa Moderna

1902 Turin
Poster for the International Exposition of Modern Decorative Arts designed
by Leonardo Bistolfi
Overview
BIE-classUniversal exposition
CategoryHistorical Expo
NamePrima Esposizione Internazionale d'Arte Decorativa Moderna
Location
CountryItaly
CityTurin
VenueParco del Valentino
Coordinates45°03′7.8″N 7°41′4.8″E / 45.052167°N 7.684667°E / 45.052167; 7.684667
Timeline
Opening10 May 1902 (1902-05-10)
Closure10 November 1907 (1907-11-10)
Universal expositions
NextInternational Exhibition of Modern Decorative and Industrial Arts in Paris

The Prima Esposizione Internazionale d'Arte Decorativa Moderna (English: First International Exposition of Modern Decorative Arts), held in Turin, Italy in 1902 (opened 10 May), was a world arts exhibition that was important in spreading the popularity of Art Nouveau design, especially to Italy. Participating countries included Germany, Italy, Austria-Hungary, Switzerland, England, Belgium, the Netherlands, Japan, and the USA. Its aim was explicitly modern: "Only original products that show a decisive tendency toward aesthetic renewal of form will be admitted. Neither mere imitations of past styles nor industrial products not inspired by an artistic sense will be accepted."[1] The Turin fair stands out as the only world fair dedicated exclusively to a single artistic style and marks the pinnacle of Art Nouveau.

Concept

As a cultural and art-historical response to the 1900 Paris World's Fair, Turin continued the tradition of the Munich Secession exhibitions (1893 and 1897), the first exhibition of the Darmstadt Artists' Colony (1901), and the concurrent 14th Vienna Secession exhibition (1902) as a Gesamtkunstwerk (total work of art) in its architecture and exhibition concept.[2][3]

Ernesto Balbo Bertone di Sambuy, Leonardo Bistolfi, Giovanni Antonio Reycend, and Enrico Thovez were responsible for the concept and direction of the fair. The chief architect was Raimondo D'Aronco who modelled his pavilions on those of Joseph Maria Olbrich in Darmstadt.[4] As with the Turin International of 1911, the fair was held in the Parco del Valentino, where the exhibition buildings were newly constructed.

Architecture

The internationally renowned Italian architect Raimondo D’Aronco (1857–1932) won the architectural competition for the new exhibition buildings in 1901. Other architects involved were Annibale Rigotti and Giovanni Vacchetta, while Enrico Bonelli oversaw the construction. Due to additional countries registering for the exhibition and the resulting greater need for exhibition space, the plans had to be modified repeatedly until the opening.

The most important element of the main building of the fair was the central rotunda (Rotonda d’onore), built in the neo-Baroque Art Nouveau style typical of D’Aronco and influenced by the dome of the Hagia Sophia in Istanbul.[5][6] The exhibition galleries for Germany and Italy, as well as thematic pavilions focusing on photography, film, automobiles and fine arts, radiate out from the main building. The exhibition concept predates the first pavilion of the Venice Biennale, built in 1907.

Artists and Works

The World's Fair helped many artists to achieve breakthrough success, including the blacksmith Alessandro Mazzucotelli, whose work gained public recognition and established his fame and success.[7] Other highly successful Italian artists included the designer Carlo Bugatti and the furniture designers Vittorio Valabrega and Agostino Lauro. The exhibition brought together for the first time the leading figures of Art Nouveau, including Victor Horta, Peter Behrens, H. P. Berlage, Joseph Maria Olbrich, Charles Rennie Mackintosh and Louis Comfort Tiffany.[8]

Among the German artists who participated were the sculptor Wilhelm Krieger and Peter Behrens, who represented the Darmstadt Artists' Colony and was an important figure in the Art Nouveau movement. Numerous interiors were on display,[9] including "A Lady's Writing Room" designed by Frances MacDonald and Herbert MacNair[10] of the Glasgow School. Victor Horta represented Belgium with highly acclaimed furniture sets, including a dining room and office, earning a diploma of honour, the highest distinction. Horta was decorated with the Order of the Crown of Italy for his work. The Austrian painter and graphic artist Carl Otto Czeschka was awarded a gold medal, consolidating his reputation as one of the most influential designers of his generation.

The Pavilions

Photography Pavilion

The 'International Exhibition of Art Photography' (Esposizione Internazionale di Fotografia Artistica), which took place in the Photography Pavilion (the Padiglione di Fotografia), occupied a special position.[11] The building was flat and rectangular, while the entrance area had Art Nouveau features, including an almost round entrance that symbolised a camera lens. The inscription above the entrance read 'Fotografia Artistica'.

The American photographers of the Photo-Secession, led by Alfred Stieglitz and representing Pictorialism, were particularly concerned with establishing photography as an independent art form. Works submitted by the Photo-Secession — including artists such as Prescott Adams, Robert Demachy, Frank Eugene, Gertrude Käsebier, Joseph Keiley, Robert S. Redfield, Alfred Stieglitz, Edward Steichen and Clarence Hudson White — received the only Grand Prix awarded by King Victor Emmanuel III of Italy himself. This introduced American trends to a wider European audience, particularly through the subsequent establishment of the quarterly photographic journal Camera Work in 1903.

German art photographers Rudolf Dührkoop, Franz Grainer, and Nicola Perscheid participated in the exhibition. A second section focused on Vittorio Sella, who presented the genre of mountain photography.

Subsequent Exhibitions

In 1911 To celebrate the 50th anniversary of the founding of the Kingdom of Italy, a series of exhibitions were held in Turin, Rome, and Florence. Rome hosted the International Exhibition of Art, while Florence featured an exhibition of Italian portraiture from the late 16th century to 1861. The 1911 Turin International (Esposizione Internazionale dell'Industria e del Lavoro) was dedicated to the theme of economy and labor.

The First International Exposition of Modern Decorative Arts was itself the subject of exhibitions marking its 90th anniversary. The Turin Civic Gallery of Modern and Contemporary Art held an exhibition entitled "Torino 1902" at the Palazzina delle Belle Arti until January 22, 1995. A comprehensive standard work on the exhibition was published in conjunction with it.[12]

Another international exhibition of decorative arts had already been planned for Paris in 1914, but due to the outbreak of World War I, it was not held until 1925 under the name International Exhibition of Modern Decorative and Industrial Arts, which, from an art historical perspective, continued the Art Nouveau movement into Art Deco.

  • Entrance of the Exhibition
  • D’Aronco's rotunda
  • Interior of the rotunda
  • Entrance of the Palazzo di Belle Arti
  • Interior of the Prussian pavillon, designed by Bruno Möhring
  • Hermann Billing, Fountain in the Kaiser Wilhelm Hall
  • Vestibule of the maison de puissance et de beauté designed by Peter Behrens
  • Vestibule Hambourgeois designed by Peter Behrens
  • Austrian pavillon designed by Ludwig Baumann
  • Maison Autrichienne designed by Ludwig Baumann
  • Interior of the Dutch pavillon
  • Entrance of the English section, designed by Walter Crane
  • Nature by Alphonse Mucha, exhibited at the Prima Esposizione Internazionale d'Arte Decorativa Moderna
  • Pavillon of the Società Consumatori Gas
  • Boudoir rose designed by Charles Rennie Mackintosh and Margaret Macdonald

See also

References

  1. ^ Richard A. Etlin, "Turin 1902: The Search for a Modern Italian Architecture," The Journal of Decorative and Propaganda Arts, vol. 13, Stile Floreale Theme Issue (Summer, 1989), pp. 94–109.
  2. ^ Hermann Muthesius: Die Architektur der Ausstellungen in Darmstadt, München und Wien. In: Kunst und Künstler. Berlin 1908.
  3. ^ Bernd Klüser, Katharina Hegewisch (Hrsg.): Die Kunst der Ausstellung. Eine Dokumentation dreißig exemplarischer Kunstausstellungen dieses Jahrhunderts. Insel Verlag, Frankfurt am Main / Leipzig 1991, ISBN 3-458-16203-8, S. 25.
  4. ^ Findling, John E; Pelle, Kimberley D (eds.). "Torino (Turin) 1902". Encyclopedia of World's Fairs and Expositions. McFarland & Company, Inc. p. 169. ISBN 978-0-7864-3416-9.
  5. ^ Hauptgebäude der internationalen Kunstgewerbeausstellung at archINFORM. Retrieved 18 January 2011.
  6. ^
  7. ^ Mazzucotelli und seine Zeit. In: Il ferro battuto: arredo e architettura. Di Baio Editore, Milano 1996, ISBN 88-7080-567-0, [1] at Google Books.
  8. ^ Kirk, Terry (2005). The Architecture of Modern Italy: Visions of Utopia, 1900-Present. Vol. 2. New York: Princeton Architectural Press. p. 15. ISBN 9781568984360.
  9. ^ Findling, John E; Pelle, Kimberley D (eds.). "Torino (Turin) 1902". Encyclopedia of World's Fairs and Expositions. McFarland & Company, Inc. p. 169. ISBN 978-0-7864-3416-9.
  10. ^ "Liverpool museums - A Lady's Writing Room, Turin, 1902". Retrieved 12 June 2011.
  11. ^ Constantini, Paolo (1994). "L'Esposizione internazionale di fotografia artistica". In Rossana Bossaglia (ed.). Torino 1902. Le arti decorative internazionali del nuovo secolo. Milan: Fabbri. pp. 94–179.
  12. ^ Rossana Bossaglia, ed. (1994). Torino 1902. Le arti decorative internazionali del nuovo secolo. Milan: Fabbri.
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