Where to See Fausto Melotti

Fausto Melotti's sculptures and other works are held in numerous private collections, many of which are located in Milan. For example, the Melotti Collection in Milan holds La casa dell'orologiaio ('The Watchmaker's House', 1960^[1]). Marta Melotti, also in Milan, owns II viaggio (1961), as well as necklaces from around 1950 and prototypes for brooches from 1959-60. Other private collections in Milan hold works such as Alu tome presto stridono i venti, misti alia fredda pioggia autunnal... (1966) and Uomini (1966). Other private collections are located elsewhere; one in Norara holds Sol6 coi cerchi (1944), and another in Km. Neu holds Josephine Baker (1962). Cristina Melotti in New York owns Le mam (1947).

Fausto Melotti, born in Rovereto in 1901^[1], is known for his sculpture and ceramics, but he also produced prints. He initially trained in physics, mathematics, and music before studying sculpture at the Accademia di Brera in Milan. In 1935^[1], Melotti had his first solo show of abstract sculptures at the Galleria del Milione in Milan. These works, often constructed from gesso or metal, were structured around the Golden Section and musical counterpoint. The show's failure led him to work as a ceramicist and produce sculptures only on commission. After 1945, his work moved away from geometric abstraction. During the 1960s, he created sculptures from wire mesh and cloth, introducing a kinetic element. Examples of his sculptural work include "II viaggio (The Journey,)" "Reti (Nets)," and "Josephine Baker." His sculptures often incorporate brass, bronze, and painted wood. He gained recognition later in his career, receiving the Premio Rembrandt in 1973 and the Feltrinelli award for sculpture in 1976. Melotti died in Milan in 1986^[1].

Fausto Melotti's sculptures and ceramics are significant for their innovative approach to form and material. Initially working in ceramics during the 1940s and 1950s, Melotti created both small sculptures and functional objects, moving between abstraction and figuration. He collaborated with Gio Ponti on projects such as the Alitalia terminals in Milan and New York in 1954^[1], where they used blue and white ceramic tiles. Melotti's ceramic work is considered an expression of "silent search and inner elaboration". Although he treated ceramics as a game, this period allowed him to develop the innovative force seen in his later sculpture. After 1960, Melotti returned to sculpture using other materials, including brass and bronze. His sculptures from the 1960s include works such as "Josephine Baker" (1962), "The Journey" (1961), and "Oh How Quickly the Winds Screech" (1966). These pieces demonstrate his exploration of form and space, and his ability to integrate artistic inspiration with the properties of his chosen materials.

Fausto Melotti was born in Rovereto in 1901^[1]. He trained as an engineer, but also studied sculpture at the Accademia di Brera in Milan. His early abstract sculptures of the 1930s employed materials such as gesso or metal. These constructions were ordered by the proportions of the Golden Section and musical geometries. After a poor reception, Melotti worked for twenty years as a ceramicist. He created small sculptures and functional objects, and collaborated with Gio Ponti on large commissions using blue and white ceramic tiles. He won awards for his ceramics in the 1950s. Melotti returned to sculpture in the 1960s, abandoning ceramics. His works from this period often used delicate wire mesh and cloth. He also worked in brass and bronze; examples include Josephine Baker (1962^[1]), The Journey (1961), and Nets (1961).

Fausto Melotti's influence can be seen in the work of Leoncillo Leonardi, particularly in Leoncillo's expressive approach to ceramics. Both Melotti and Lucio Fontana explored the reconciliation of art and craft, a debate that included architecture, in the 1950s. Melotti's early career involved him with the Abstraction-Création movement in Paris. He supported bringing Italian art and architecture into dialogue with the European avant-garde, countering nationalistic cultural policies. His abstract sculptures, devoid of representational elements, were ordered by proportions of the Golden Section and musical counterpoint. After a critical failure of his exhibition in 1935^[1], Melotti worked as a ceramicist, producing figurative pieces on commission, such as bas-reliefs for Marcello Piacentini's Palazzo della Giustizia in Milan (1937-39). He also created figure groups for the Esposizione Universale Roma (EUR '42), a project that was cut short by the war. Melotti's work was inspired by musical counterpoint, and his later sculptures incorporated wire mesh and cloth, introducing a kinetic element.

Fausto Melotti's artistic development involved several influences. He studied under Adolfo Wildt at the Accademia di Brera in Milan, where he met Lucio Fontana, who became a lifelong friend. Melotti, along with Fontana and others, supported the Abstraction-Création movement in Paris. They aimed to integrate Italian art and architecture with the European avant-garde, countering the Fascist regime's nationalistic cultural policies. Carlo Belli, Melotti's cousin, was a theorist and supporter of the group. Musical counterpoint inspired Melotti's work. His abstract sculptures, devoid of representational elements, were ordered by the Golden Section's proportions and musical counterpoint's formal geometries. In ceramics, Melotti can be seen as a successor to Gio Ponti's artistic vision. There were many connections between Melotti and Fontana, aside from their esteem and respect for each other; they shared a love for ceramics.

Fausto Melotti, born in Rovereto in 1901^[1], was an Italian artist known for his sculpture and ceramics. He studied physics and mathematics at Pisa, then electronic engineering in Milan. He also studied music. Later, he enrolled at the Accademia di Brera in Milan, where he met Lucio Fontana, who became a lifelong friend. In 1935^[1], Melotti had his first solo show of abstract sculptures at the Galleria del Milione in Milan. These constructions, made of gesso or metal, were ordered by proportions of the Golden Section and musical counterpoint. The exhibition was a critical failure, and Melotti then worked as a ceramist. He also produced sculptures on commission, mostly figurative pieces. After the Second World War, Melotti created Small Theatres: multicoloured terracotta constructions. During the 1950s, he won awards for his ceramics, including gold medals from Prague and Munich. His work from the 1960s used delicate wire mesh and cloth. These sculptures were not exhibited until 1967, but he soon gained critical success. Examples of his work include Josephine Baker (1962), The Watchmaker's House (1960), and The Journey (1961). Melotti died in Milan in 1986^[1].

Fausto Melotti (1901^[1]-1986^[1]) supported the Abstraction-Création movement, signing the manifesto of the ‘Prima mostra collettiva d'arte astratta italiana’ in Turin in 1935^[1]. This group aimed to bring Italian art and architecture into dialogue with the European avant-garde, countering nationalistic cultural policies. Carlo Belli, a theorist and supporter of the group, was Melotti’s cousin. Melotti was also associated with the Galleria del Milione in Milan, where he had his first solo show of abstract sculptures in 1935. These gesso or metal constructions were ordered by the proportions of the Golden Section and the geometries of musical counterpoint. After the critical failure of the exhibition, Melotti worked as a ceramicist and produced sculptures on commission. He concentrated on ceramics for nearly twenty years. In the 1940s, Melotti produced small sculptures and functional objects, wavering between the abstract and the figurative. After twenty years devoted to ceramics, he returned to sculpture in other mediums in the 1960s.