Dubbed the Alchemist of Venice, Mariano Fortuny Madrazo is the perfect example of a genius that excels in different disciplines. A new retrospective about this multi-talented artist has just opened this past week at La Pedrera. The exhibit will open until the 27th of June, so there is no excuse for missing out on this intimate journey into Fortuny’s creative world.
Set within the magnificent Pedrera, the surroundings embellish the concise yet lavish paintings, artifacts, photographs and clothing all created by Fortuny. The exhibit is sectioned into approximately 11 different parts, starting with several of his paintings and prints on Wagnerian themes. He is considered to have completely captured the Wagnerian concept of the “total work of art” and his prints are completely haunting.
Being quite the inventor, Fortuny created a special lighting system for theatre which was patented and used all over Europe. An indirect lighting device coupled with a quarter-sphere dome acted as a large reflector and replaced the traditional painted sky sets. Jealous of his inventions, by the time of his death, Fortuny had amassed more than 20 patents and carefully guarded his artistic secrets.
Large amounts of photographs are visible throughout the exhibit, as Fortuny was an avid photographer. In 1889, the entire Fortuny family moved to Venice. I especially appreciated the snaps of Venice, the old-world grandeur of the city; its magic and mystery are very present in each of his photos. Considering that I’ll be going to the water-logged city for the first time in late April, I positively relished the glimpse into Venetian life.
Unfortunately, there are no press photos available yet, so I had to scrounge around the net to find something half-decent to accompany my text. I had to stop myself from rushing through the main section of the exhibit to get to the part that really interested me, Fortuny’s printed fabrics and his fashion designs. After mastering the existing techniques in textile printing, he invented new methods, better suited to his style of work. There are various examples of his printing samples, both on cloth and on paper to pour over. Absolutely meticulous and fastidious, these are veritable works of art. Fortuny was like the Tom Ford of the early 1900s. Everything he turned his hand to, he did so magnificently.
The debate still rages on concerning who was exactly responsible in freeing women of the cursed corset. Chanel and Poiret both laid claim that they were the great heroes. Yet Fortuny designed the Delphos gown, a simple tunic made of the most exquisite, pleated fabric. This dress hung freely from the shoulders, molding to the wearers’ body, adapting to the person’s shape. The Delphos gown quickly became an icon of rebellious spirits, anxious to break free from the conventionalities of the era.
It was a truly magical experience to peruse the different dresses, cloaks, shoes and bags. Glorious, rich colours. Infinite, perfect, tiny pleats. Pleats that have been copied many, many times since Fortuny invented his technique. As I said before, the exhibit is not overly extensive but it is a great opportunity to delve into the fabulously, creative world of the alchemist of Venice, the magician, the master of cloth, Fortuny.
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2 Comments on "Mariano Fortuny Retrospective at La Pedrera"
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[...] compliment the ongoing Fortuny exhibition, a series of activities have been programmed during the months of April and May. ...
[...] hall is usually hit or miss. The previous Mariscal exhibition was extremely good, as well as the Fortuny retrospective. ...