Emporium
- rivista
mensile illustrata d'arte e di coltura
The
first number of Emporium,
an Italian monthly journal devoted to the arts and culture, was
published in 1895 by the Istituto Italiano d'Arti Grafiche,
based
in the city of Bergamo. Having the English journal "The Studio" as its
strongest model, Emporium soon was inspired by German journals Pan, the Simplicissimus, and
Jugend.
La cave aux livres
has a large
collection of this Italian journal. We will describe the content of
some of its issues, from time to time. You will find out which artists
are quoted in
its essays, as well as their artworks, published therein. Some of
the lovely colour illustrations it carries will also be reproduced here.
From the content of Emporium #
436 (April 1931)
Futurism
could be the single keyword of the present issue of Emporium,
publishing a long essay by Antonio Nezi about Italian Architect Antonio
Sant'Elia (Dal Futurismo
italiano al Razionalismo internazionale: Antonio Sant'Elia in luce),
with many projects designed by him (one-family houses, manystoried
residential buildings, electric plants and stations, theaters, urban
districts of an ideal new town).
A much shorted writing by Marilena Rossati could also be brought under this same keyword. It describes the first exhibition of aero-painting (La prima mostra di aereo-pittura, is the original title of this text), held in piazza di Spagna in Rome. Reproduced are some of the paintings brought to the Spanish Steps: by Balla, Enrico Prampolini, Gerardo Dottori, Ernesto Thayaht, Bruna Somenzi, and Tato. Following the text of the exhibition's programme, many of these paintings show at the same time "the double movement of the airplane, and of the painter's hand, moving pencil, brush, or [colour] diffuser".
Among the other information brought by this issue are a 17th century embroidery kept at the Correr Museum in Venice, and the news about ongoing excavations at Paestum.
Reproduced is a preliminary design for a "multistoried building with a large galerie" plan, by architect Antonio Sant'Elia.
From the content of Emporium # 434 (February 1931)
Two are the main features in the present issue.
The first one is an essay by Francesco Geraci, written in memory of the Italian artist Giovanni Boldini, who had passed away in Paris on January 13th, 1931. Many reproductions of his portraits are given, among which "Giuseppe Verdi" and the Marquis "Antonio di Rudinì" are perhaps the two most famous ones.
The second one is an article concerning contemporary residential architecture in Europe and beyond, by Antonio Nezi. This essay discusses the most recent trends, showing buildings by architects Bruno Taut, Wilhelm Riphahn, Erich Mendelsohn, H.H. Lüttgen, and Theodor Merrill (for Germany), Karl Ehn, and Clemens Holzmeister (for Austria), Victor Bourgeois in Belgium, K. van den Berg, and De Klerk (for Holland), Raymond Nicolas, Le Corbusier, and L. Quételart (for France), Theodor E. Laubi for Switzerland, Arkay Bertalan for Hungary, Oiva Kallio for Finland, Basil Ionides for the United Kingdom, Pierpont and Walter S. Davies for the United States, and Vittorio Morpurgo, Luigi Vietti, and Giuseppe Pizzigoni for Italy.
An essay with many illustrations about the Castle of Naples ("La vita di Castelnuovo di Napoli", by Giovanni Artieri), as well as another one (Le stampe popolari italiane, by Ezio Levi) describing popular Italian prints - with reproductions ranging from the 16th to the 19th century - complete this issue.
The reproduction appearing here is a poster advertizing the Istituto Nazionale delle Assicurazioni,
From the content of Emporium # 433 (January 1931):
Among
the artists quoted (black and white illustrations, all) in
an
essay about painters from Holland ("Pittori d'Olanda", pp. 2-11) by
Enrico Morpurgo, we can find A.C. Willink, Dirk Nyland, Peter Alma,
Charley Toorop, Raoul Hyncker, van Uytvanck, and Henk Wiegersma.
Other illustrations - in three essays by Emilio Zanzi, Giovanni Copertini, and Giovanni Artieri - are by Luigi Zuccoli, C. De Mattia, Daniele Crespi, Carlo Turina, Giovanni Giani, Felice Vellan, Domenico Valinotti, Italo Cremona, Gregorio Calvi di Bregolo (an interesting view of the "Croisette" at Cannes), Eso Peluzzi, Mario Bionda, G. Buzzi, Pietro Morando, Beppe Levrero, Arturo Martini, Michele Guerrisi, Giacomo Comatti, Egle Pozzi, Archimede Bresciani, Alimondo Ciampi, Amleto Beghelli, Arnaldo Spagnoli, Silvio Barbieri, Aldo Marini, Ubaldo Magnavacca, Aldo Raimondi, Armando Titta, Mario Bacciocchi, Adolfo Marini, Riccardo Fainardi, Paolo Baratta, Antonio Mancino, and Carlo De Veroli, while Adolf Wildt, Giacomo Rigotti, Levi Montalcini, Vincenzo Gemito, Faruffini, and Francesco de Sanctis are only quoted in the text.
Another
essay, by Franco
Abbiati, is devoted to composer Riccardo Pick-Mangiagalli, and to his
ballets Mahit,
Casanova a Venezia,
and Carillon Magico (illustrations),
while a last one - by Arturo Jahn Rusconi - describes the ancient roman
villa of the gens
Domitia (Domitii Enobarbi), whose remains lay in the
island of Giannutri, not far from Porto Ercole at Argentario (at the seashore of Tuscany's Maremma,
near Orbetello); among the people who played a role in the island's
history are the
Earls of Sovana (Conti di Sovana), and a captain Gualtiero Adami, who
retired on this lovely, once desert island to live in solitude.
The two reproductions appearing here are the journal's cover design by Diego Sant'Ambrogio (1930), and a painting by Antonio Mancini ("Serenata" - privately owned).
Futurism
could be the single keyword of the present issue of Emporium,
publishing a long essay by Antonio Nezi about Italian Architect Antonio
Sant'Elia (Dal Futurismo
italiano al Razionalismo internazionale: Antonio Sant'Elia in luce),
with many projects designed by him (one-family houses, manystoried
residential buildings, electric plants and stations, theaters, urban
districts of an ideal new town).A much shorted writing by Marilena Rossati could also be brought under this same keyword. It describes the first exhibition of aero-painting (La prima mostra di aereo-pittura, is the original title of this text), held in piazza di Spagna in Rome. Reproduced are some of the paintings brought to the Spanish Steps: by Balla, Enrico Prampolini, Gerardo Dottori, Ernesto Thayaht, Bruna Somenzi, and Tato. Following the text of the exhibition's programme, many of these paintings show at the same time "the double movement of the airplane, and of the painter's hand, moving pencil, brush, or [colour] diffuser".
Among the other information brought by this issue are a 17th century embroidery kept at the Correr Museum in Venice, and the news about ongoing excavations at Paestum.
Reproduced is a preliminary design for a "multistoried building with a large galerie" plan, by architect Antonio Sant'Elia.
From the content of Emporium # 434 (February 1931)
Two are the main features in the present issue.
The first one is an essay by Francesco Geraci, written in memory of the Italian artist Giovanni Boldini, who had passed away in Paris on January 13th, 1931. Many reproductions of his portraits are given, among which "Giuseppe Verdi" and the Marquis "Antonio di Rudinì" are perhaps the two most famous ones.
The second one is an article concerning contemporary residential architecture in Europe and beyond, by Antonio Nezi. This essay discusses the most recent trends, showing buildings by architects Bruno Taut, Wilhelm Riphahn, Erich Mendelsohn, H.H. Lüttgen, and Theodor Merrill (for Germany), Karl Ehn, and Clemens Holzmeister (for Austria), Victor Bourgeois in Belgium, K. van den Berg, and De Klerk (for Holland), Raymond Nicolas, Le Corbusier, and L. Quételart (for France), Theodor E. Laubi for Switzerland, Arkay Bertalan for Hungary, Oiva Kallio for Finland, Basil Ionides for the United Kingdom, Pierpont and Walter S. Davies for the United States, and Vittorio Morpurgo, Luigi Vietti, and Giuseppe Pizzigoni for Italy.
An essay with many illustrations about the Castle of Naples ("La vita di Castelnuovo di Napoli", by Giovanni Artieri), as well as another one (Le stampe popolari italiane, by Ezio Levi) describing popular Italian prints - with reproductions ranging from the 16th to the 19th century - complete this issue.
The reproduction appearing here is a poster advertizing the Istituto Nazionale delle Assicurazioni,
From the content of Emporium # 433 (January 1931):
Among
the artists quoted (black and white illustrations, all) in
an
essay about painters from Holland ("Pittori d'Olanda", pp. 2-11) by
Enrico Morpurgo, we can find A.C. Willink, Dirk Nyland, Peter Alma,
Charley Toorop, Raoul Hyncker, van Uytvanck, and Henk Wiegersma.Other illustrations - in three essays by Emilio Zanzi, Giovanni Copertini, and Giovanni Artieri - are by Luigi Zuccoli, C. De Mattia, Daniele Crespi, Carlo Turina, Giovanni Giani, Felice Vellan, Domenico Valinotti, Italo Cremona, Gregorio Calvi di Bregolo (an interesting view of the "Croisette" at Cannes), Eso Peluzzi, Mario Bionda, G. Buzzi, Pietro Morando, Beppe Levrero, Arturo Martini, Michele Guerrisi, Giacomo Comatti, Egle Pozzi, Archimede Bresciani, Alimondo Ciampi, Amleto Beghelli, Arnaldo Spagnoli, Silvio Barbieri, Aldo Marini, Ubaldo Magnavacca, Aldo Raimondi, Armando Titta, Mario Bacciocchi, Adolfo Marini, Riccardo Fainardi, Paolo Baratta, Antonio Mancino, and Carlo De Veroli, while Adolf Wildt, Giacomo Rigotti, Levi Montalcini, Vincenzo Gemito, Faruffini, and Francesco de Sanctis are only quoted in the text.
Another
essay, by Franco
Abbiati, is devoted to composer Riccardo Pick-Mangiagalli, and to his
ballets Mahit,
Casanova a Venezia,
and Carillon Magico (illustrations),
while a last one - by Arturo Jahn Rusconi - describes the ancient roman
villa of the gens
Domitia (Domitii Enobarbi), whose remains lay in the
island of Giannutri, not far from Porto Ercole at Argentario (at the seashore of Tuscany's Maremma,
near Orbetello); among the people who played a role in the island's
history are the
Earls of Sovana (Conti di Sovana), and a captain Gualtiero Adami, who
retired on this lovely, once desert island to live in solitude.The two reproductions appearing here are the journal's cover design by Diego Sant'Ambrogio (1930), and a painting by Antonio Mancini ("Serenata" - privately owned).
