"My life's goal is art."
Mariano Fortuny Madrazo
Mariano Fortuny Madrazo (Granada 1871 - Venice 1949), son of Catalan painter Marià Fortuny i Marsal, was one of the most creative and innovative figures from the first half of the 20th century. A multitalented man who "was not called 'the Little Leonardo' for nothing, to whom Proust referred as 'the magician of Venice", and whose work encompasses areas as diverse as painting, engraving, stage design, lighting technology, photography, textile design and fashion, with the desire to achieve beauty in all manner of things through art.
With this exhibition, Caixa Catalunya's Social Work aims to show the dazzling number of different sides to Fortuny, reaffirming his originality and daring visionary business, and confirming him as both total artist and pioneer of modernity. .
Mariano Fortuny Madrazo
Mariano Fortuny Madrazo (Granada 1871 - Venice 1949), son of Catalan painter Marià Fortuny i Marsal, was one of the most creative and innovative figures from the first half of the 20th century. A multitalented man who "was not called 'the Little Leonardo' for nothing, to whom Proust referred as 'the magician of Venice", and whose work encompasses areas as diverse as painting, engraving, stage design, lighting technology, photography, textile design and fashion, with the desire to achieve beauty in all manner of things through art.
With this exhibition, Caixa Catalunya's Social Work aims to show the dazzling number of different sides to Fortuny, reaffirming his originality and daring visionary business, and confirming him as both total artist and pioneer of modernity. .
Self portrait, 1890.
Familiy environment
Following the premature death of Marià Fortuny in Rome in 1874, the Fortuny Madrazo family, "including mother Cecilia, Mariano and his sister María Luisa" moved to Paris, where Cecilia's brother, Raimundo de Madrazo, a well-known painter and portraitist, took over young Mariano's artistic training.
Fortuny was brought up in a refined, erudite environment under the protective tutelage of the Madrazo family, "one of the most influential dynasties of Spanish artists of the 19th century". Under the weight of his father's artistic memory, his training moved towards painting and he soon came into contact with painters and artists that had been friends and admirers of his father, such as Meissonier, Benjamin Constant ("whom he considered his teacher"), Beaudry and Gérôme, who were influential in formally shaping his artistic poetry, within the context of fin de siècle cultural eclecticism.
Following the premature death of Marià Fortuny in Rome in 1874, the Fortuny Madrazo family, "including mother Cecilia, Mariano and his sister María Luisa" moved to Paris, where Cecilia's brother, Raimundo de Madrazo, a well-known painter and portraitist, took over young Mariano's artistic training.
Fortuny was brought up in a refined, erudite environment under the protective tutelage of the Madrazo family, "one of the most influential dynasties of Spanish artists of the 19th century". Under the weight of his father's artistic memory, his training moved towards painting and he soon came into contact with painters and artists that had been friends and admirers of his father, such as Meissonier, Benjamin Constant ("whom he considered his teacher"), Beaudry and Gérôme, who were influential in formally shaping his artistic poetry, within the context of fin de siècle cultural eclecticism.
Reclining female nude, 1895.
Wagner
As tradition had it, Fortuny studied painting by copying the great masters and deepened his understanding of colours and the art of engraving, but he was also interested in studying electricity, physics, optics, photography, music and theatre.
Under the painter Rogelio de Egusquiza, Fortuny found the answer to his desires in Wagnerian ideals, and explored new forms of pictorial expression similar to symbolism in a series of Wagnerian-themed works that he did in both painting and engraving. He also began to experiment with constructing small theatre models, and in 1900 designed the set for the Italian production of Tristan and Isolde at La Scala theatre in Milan.
Fortuny can be considered one of the leading exponents of Wagner's concept of "total art work".
As tradition had it, Fortuny studied painting by copying the great masters and deepened his understanding of colours and the art of engraving, but he was also interested in studying electricity, physics, optics, photography, music and theatre.
Under the painter Rogelio de Egusquiza, Fortuny found the answer to his desires in Wagnerian ideals, and explored new forms of pictorial expression similar to symbolism in a series of Wagnerian-themed works that he did in both painting and engraving. He also began to experiment with constructing small theatre models, and in 1900 designed the set for the Italian production of Tristan and Isolde at La Scala theatre in Milan.
Fortuny can be considered one of the leading exponents of Wagner's concept of "total art work".
Daytime and nighttime effects with the indirect light system in a theatrical model
Theatre
Passion for theatre is a constant throughout the life of Fortuny. His interest in light and his attraction to Wagnerian opera led him to actively participate in researching aesthetics and techniques that took over the European theatre scene, as he believed that total immersion in the dramatic atmosphere was largely dependent on a new way of conceiving the stage.
Mariano Fortuny revolutionised 20th century staging with the "Fortuny System", made up of an indirect lighting device and a quarter-sphere dome, which covered the stage and acted like a large reflector, replacing the painted skies used in traditional stage decoration. After gaining recognition in Paris in 1906 at the Countess of Bearn's private theatre, his system was marketed through a company formed by the artist and German company AEG and installed in the main theatres in Germany and Italy.
Passion for theatre is a constant throughout the life of Fortuny. His interest in light and his attraction to Wagnerian opera led him to actively participate in researching aesthetics and techniques that took over the European theatre scene, as he believed that total immersion in the dramatic atmosphere was largely dependent on a new way of conceiving the stage.
Mariano Fortuny revolutionised 20th century staging with the "Fortuny System", made up of an indirect lighting device and a quarter-sphere dome, which covered the stage and acted like a large reflector, replacing the painted skies used in traditional stage decoration. After gaining recognition in Paris in 1906 at the Countess of Bearn's private theatre, his system was marketed through a company formed by the artist and German company AEG and installed in the main theatres in Germany and Italy.
Daytime and nighttime effects with the indirect light system in a theatrical model
Venice
The Fortuny Madrazo family relocated to Venice in 1889 and moved into the Palazzo Martinengo on the Grand Canal. Fortuny arrived in time to catch a glimpse of the presence of the great Romantics who had sought refuge there, and experienced the city as it prepared for its cultural revival within the context of Belle Epoque Europe. Fortuny began to familiarise himself with Venice, capturing the city's scenery with either a camera or paintbrush, and soon became part of the Venetian cultural elite.
In the refuge of luxury endebted to exotic and Oriental charms, Venice became for Fortuny, on the one hand, a symbol of beauty, and, on the other, a group of places and people that formed an inseparable foundation of stimuli and suggestion that allowed him to develop his boundless creativity in all areas of the arts.
The Fortuny Madrazo family relocated to Venice in 1889 and moved into the Palazzo Martinengo on the Grand Canal. Fortuny arrived in time to catch a glimpse of the presence of the great Romantics who had sought refuge there, and experienced the city as it prepared for its cultural revival within the context of Belle Epoque Europe. Fortuny began to familiarise himself with Venice, capturing the city's scenery with either a camera or paintbrush, and soon became part of the Venetian cultural elite.
In the refuge of luxury endebted to exotic and Oriental charms, Venice became for Fortuny, on the one hand, a symbol of beauty, and, on the other, a group of places and people that formed an inseparable foundation of stimuli and suggestion that allowed him to develop his boundless creativity in all areas of the arts.
Gondolier by La Salute, 1900
Henriette - Palazzo Pesaro
In 1897 Mariano Fortuny met a young model in Paris named Henriette Adèle Nigrin. Cultured, intelligent and refined, Henriette became his great muse and collaborator, and eventually his wife.
In 1899 Fortuny made the top floor of the Palazzo Pesaro degli Orfei a studio, which ended up becoming his home. Over time he came to occupy the whole palace and became its owner. His collection of paintings, clothing, tapestries and carpets was set up in the Palazzo Pesaro, a 15th-century building, in addition to his studio, laboratory, fabric printing and clothing creation workshop and the showroom for his creations. At the height of his activity before the First World War, he set up a textile manufacturer with more than one hundred workers.
In 1897 Mariano Fortuny met a young model in Paris named Henriette Adèle Nigrin. Cultured, intelligent and refined, Henriette became his great muse and collaborator, and eventually his wife.
In 1899 Fortuny made the top floor of the Palazzo Pesaro degli Orfei a studio, which ended up becoming his home. Over time he came to occupy the whole palace and became its owner. His collection of paintings, clothing, tapestries and carpets was set up in the Palazzo Pesaro, a 15th-century building, in addition to his studio, laboratory, fabric printing and clothing creation workshop and the showroom for his creations. At the height of his activity before the First World War, he set up a textile manufacturer with more than one hundred workers.
Parsifal. The flower girls, 1896.
Textile design
Fortuny was already thirty-five years old when he decided to dedicate himself to textile design, in close collaboration with Henriette. By this time he also had an important background in theatre "wardrobe production", as well as remarkable knowledge of materials acquired through the family collection of antique fabrics, from which he took his preference for rich colours, his extraordinary variety of motifs and figures and harmonious combination of styles emerging from different times and places.
His creations go from loyal imitation or free adaptation of everything from Greek- and Minoan-inspired motifs, to Coptic art, to 17th century Turkish fabrics, the art of Moorish Spain, the French Rococo, Chinese art and African art. Fortuny designed hundreds of motifs that combined and were printed in colours created from secret formulas learnt from old recipes and books about the art of dyeing.
Fortuny was already thirty-five years old when he decided to dedicate himself to textile design, in close collaboration with Henriette. By this time he also had an important background in theatre "wardrobe production", as well as remarkable knowledge of materials acquired through the family collection of antique fabrics, from which he took his preference for rich colours, his extraordinary variety of motifs and figures and harmonious combination of styles emerging from different times and places.
His creations go from loyal imitation or free adaptation of everything from Greek- and Minoan-inspired motifs, to Coptic art, to 17th century Turkish fabrics, the art of Moorish Spain, the French Rococo, Chinese art and African art. Fortuny designed hundreds of motifs that combined and were printed in colours created from secret formulas learnt from old recipes and books about the art of dyeing.
Fabric sash with freely-interpreted late 17th century ornamental motifs.
Textile design - Techniques
As a result of his careful study, Fortuny mastered textile techniques to perfection, which he then revised and modernised, also inventing new ones "such as printing with continuous bands and engraved plates or photographic stencils", which he jealously guarded in secret and patented.
He used both direct techniques, "such as printing with wood carving matrices", and resist printing processes "such as screen printing, batik, pochoir, gelatine printing with stencils and printing with a platinum tip". Although Fortuny never made fabrics, his knowledge allowed him to choose high quality fabrics to use for his creations: at the beginning he worked with linen thread, cotton batiste and gauze, but later he worked in velvet and silk satin, always using natural pigments and dyes he prepared himself.
As a result of his careful study, Fortuny mastered textile techniques to perfection, which he then revised and modernised, also inventing new ones "such as printing with continuous bands and engraved plates or photographic stencils", which he jealously guarded in secret and patented.
He used both direct techniques, "such as printing with wood carving matrices", and resist printing processes "such as screen printing, batik, pochoir, gelatine printing with stencils and printing with a platinum tip". Although Fortuny never made fabrics, his knowledge allowed him to choose high quality fabrics to use for his creations: at the beginning he worked with linen thread, cotton batiste and gauze, but later he worked in velvet and silk satin, always using natural pigments and dyes he prepared himself.
Fabric with pomegranate motifs inspired by 16th and 17th century Ottoman fabrics.
The businessman
Fortuny was a strong supporter of technological advances applied to art and, in his quest for research, he came to invent new devices for use in his design processes, including both objects and fabrics. He registered more than twenty patents over the course of his life: from machines and procedures for printing and dyeing fabric (1909-1910) to photographic paper (1931).
Between 1910 and 1925 he became a brilliant businessman and understood that industrial production could not be avoided, so in 1919 he opened a factory at La Giudeccca to make large fabrics for interior decoration, allowing him to attend to the numerous orders he received from all over the world. Fortuny not only controlled the entire creation process, but also the distribution of his products, and opened exclusive shops in Paris, London and New York.
Fortuny was a strong supporter of technological advances applied to art and, in his quest for research, he came to invent new devices for use in his design processes, including both objects and fabrics. He registered more than twenty patents over the course of his life: from machines and procedures for printing and dyeing fabric (1909-1910) to photographic paper (1931).
Between 1910 and 1925 he became a brilliant businessman and understood that industrial production could not be avoided, so in 1919 he opened a factory at La Giudeccca to make large fabrics for interior decoration, allowing him to attend to the numerous orders he received from all over the world. Fortuny not only controlled the entire creation process, but also the distribution of his products, and opened exclusive shops in Paris, London and New York.
Four drawings for a printing matrix, one for each colour, to form a printed decorative sequence, after 1909.
KNOSSOS LITERARY TEXT
"She was enveloped in one of those long, Oriental gauze scarves that the alchemist dyer Mariano Fortuny submerges in the mysterious potions of his caldrons, stirring them with a wooden stick, first like a sylph, then like a gnome, where he obtains colours from strange dreams and later prints them with his thousands of new generations of stars, plants, animals."
Gabriele D'ANNUNZIO, Forse che si, forse che no (1910)
"She was enveloped in one of those long, Oriental gauze scarves that the alchemist dyer Mariano Fortuny submerges in the mysterious potions of his caldrons, stirring them with a wooden stick, first like a sylph, then like a gnome, where he obtains colours from strange dreams and later prints them with his thousands of new generations of stars, plants, animals."
Gabriele D'ANNUNZIO, Forse che si, forse che no (1910)
Fabric with freely interpreted mid-15th century ornamental motifs.
Fashion
In addition to printing fabrics, Fortuny and Henriette began to create items of clothing and accessories. Their first creation, the Knossos scarf, was followed by tunics made of fine gauze used as surcoats, elegant silk and velvet abas worn as coats, Moorish-inspired burnou capes, printed velvet coats, tunic dresses and the medieval-inspired Eleonora dress.
Fortuny also managed the advertisement of his products, and was personally responsible for photographing the models who promoted them. The most famous and elegant women of the time appeared in his dresses in prestigious magazines such as Vogue and La Gazette du Bon Ton, and his writer friends, including Proust and D'Annunzio amongst others, poetically interpreted them in their works, making them cult objects.
In addition to printing fabrics, Fortuny and Henriette began to create items of clothing and accessories. Their first creation, the Knossos scarf, was followed by tunics made of fine gauze used as surcoats, elegant silk and velvet abas worn as coats, Moorish-inspired burnou capes, printed velvet coats, tunic dresses and the medieval-inspired Eleonora dress.
Fortuny also managed the advertisement of his products, and was personally responsible for photographing the models who promoted them. The most famous and elegant women of the time appeared in his dresses in prestigious magazines such as Vogue and La Gazette du Bon Ton, and his writer friends, including Proust and D'Annunzio amongst others, poetically interpreted them in their works, making them cult objects.
Henriette preparing a wood carving matrix to print decorative motifs on a Knossos scarf, 1908.
The Delphos gown
At the time when Fortuny emerged on the fashion scene, women were wearing over-elaborated dresses and still using corsets that oppressed them and changed their body shape. Around 1907 Fortuny and Henriette came up with the Delphos gown, a simple tunic made with pleated fabric that fell freely along the body, adapting itself to the wearer. Patented in 1909, the unique colour of every piece was achieved by manually bathing the fabric in multiple dyes -"as many as fifteen" -to get unrepeatable tones and iridescence.
The Delphos gown, which revolutionised the fashion world by making the feminine ideal of freeing the body a reality, was an icon only for those women who felt free enough -either through their profession, wealth or personality -to ignore the moral conventions of the time: Isadora Duncan, Eleonora Duse, Sara Bernhardt, Marchesa Luisa Casati and Baroness Rothschild, amongst others.
At the time when Fortuny emerged on the fashion scene, women were wearing over-elaborated dresses and still using corsets that oppressed them and changed their body shape. Around 1907 Fortuny and Henriette came up with the Delphos gown, a simple tunic made with pleated fabric that fell freely along the body, adapting itself to the wearer. Patented in 1909, the unique colour of every piece was achieved by manually bathing the fabric in multiple dyes -"as many as fifteen" -to get unrepeatable tones and iridescence.
The Delphos gown, which revolutionised the fashion world by making the feminine ideal of freeing the body a reality, was an icon only for those women who felt free enough -either through their profession, wealth or personality -to ignore the moral conventions of the time: Isadora Duncan, Eleonora Duse, Sara Bernhardt, Marchesa Luisa Casati and Baroness Rothschild, amongst others.
Model with a Knossos scarf over a Delphos gown, 1909.
DELPHOS LITERARY TEXT
"[...] "Fortuny" had been written in printed letters on the box. Eustace untied the ribbon and lifted the top. What he discovered beneath the smooth silk paper gave him a shudder of pleasure: there, completely twisted and folded around itself, as if ready for someone to take it out, was Hilda's blue and silver dress. The tight folds, as close to one another as furrows ploughed in a field, seemed darker than he had imagined. Knowing that he would never be able to unfold it, he was content to run his fingers over the dry, pleated edges, and found resistance from having been so compressed. Still... how those folds could expand, what unimaginable possibilities of movement for Hilda, for the new Hilda! With that dress she could dance, she could fly."
L. P. HARTLEY, Eustace and Hilda (1947)
Marcel Proust
"[...] "Fortuny" had been written in printed letters on the box. Eustace untied the ribbon and lifted the top. What he discovered beneath the smooth silk paper gave him a shudder of pleasure: there, completely twisted and folded around itself, as if ready for someone to take it out, was Hilda's blue and silver dress. The tight folds, as close to one another as furrows ploughed in a field, seemed darker than he had imagined. Knowing that he would never be able to unfold it, he was content to run his fingers over the dry, pleated edges, and found resistance from having been so compressed. Still... how those folds could expand, what unimaginable possibilities of movement for Hilda, for the new Hilda! With that dress she could dance, she could fly."
L. P. HARTLEY, Eustace and Hilda (1947)
Marcel Proust
Model in a Delphos gown, 1915.
PROUST LITERARY TEXT
"The Fortuny dress Albertine wore that night seemed like the tantalising shadow of invisible Venice. It was covered in Arab ornamentation just like Venice, just like Venetian palaces, disguised as sultans behind a veil pierced with stones, just like the bindings in the Ambrosian Librarly, just like the columns with Oriental birds that alternately mean life and death and are repeated in the mirage of the clothes, in a deep blue that, as my eyes approached it, became changeable, thanks to the same transmutations that, in front of the advancing gondola, became metal enflaming the azure of the Grand Canal. And the sleeves were lined in cherry pink that is so Venetian it is especially called Tiepolo pink."
Marcel PROUST, À la recherche du temps perdu, La Prisonnière (1923)
L. P. Hartley, Eustace and Hilda (1947)
"The Fortuny dress Albertine wore that night seemed like the tantalising shadow of invisible Venice. It was covered in Arab ornamentation just like Venice, just like Venetian palaces, disguised as sultans behind a veil pierced with stones, just like the bindings in the Ambrosian Librarly, just like the columns with Oriental birds that alternately mean life and death and are repeated in the mirage of the clothes, in a deep blue that, as my eyes approached it, became changeable, thanks to the same transmutations that, in front of the advancing gondola, became metal enflaming the azure of the Grand Canal. And the sleeves were lined in cherry pink that is so Venetian it is especially called Tiepolo pink."
Marcel PROUST, À la recherche du temps perdu, La Prisonnière (1923)
L. P. Hartley, Eustace and Hilda (1947)
Red silk taffeta Delphos gown with small polished glass beads, after 1910.