Italian Pottery and Timeless Art by Galileo Chini

The art of pottery involves creating objects from clay and then subjecting them to high temperatures. An ancient tradition, humanity began producing the first pottery objects in prehistoric times. However, today we will discuss Italian pottery by a Florentine artist who gained fame between the late 19th and early 20th centuries. We are referring to Galileo Chini.

The Life and Works of Galileo Chini

Galileo Andrea Maria Chini was born in Florence on December 2, 1873, in the Via delle Terme, the son of Elio and Aristea Bastiani.

In 1884, at the age of eleven, he lost his father. His paternal uncle Dario, a renowned decorator and fresco restorer with a well-regarded restoration workshop, steered him towards studying decoration and enrolled him in the Art School of Santa Croce in Florence.

He attended the school alongside the three Coppedé brothers and Ugo Giusti, with whom he later collaborated.

After briefly interrupting his studies to work, Galileo Chini resumed his education in 1887 at the evening schools on Via Maggio and the Dazzi Sunday schools in Florence. Around 1890, he met painter Giulio Bargellini, who worked with Augusto Burchi.

In 1894, Chini received his first significant commission: a mural decoration for the reception hall ceiling of the Palazzo Budini-Gattai in Florence, created in collaboration with Giulio Bargellini.

In 1895, he attended the free school of nudes at the Academy of Fine Arts in Florence. During the same period, he joined the Circolo degli Artisti, befriending various personalities like Giovanni Papini and Sem Benelli.

In 1896, motivated by the sale of the Ginori Ceramics of Doccia to industrialist Augusto Richard of Milan, Chini founded the Manifattura Arte della Ceramica with Giovanni Vannuzzi, Vittorio Giunti, and Giovanni Montelatici, influenced by English arts and crafts ideals. The first creations were characterized by Pre-Raphaelite influences. The company’s production, later joined by Chini’s cousins Augusto and Guido, was internationally acclaimed.

In 1898, their work was presented at the National Art Exhibition in Turin, winning a gold medal.

On April 22, 1899, Chini married Elvira Pescetti. The couple had two children, Isotta and Eros. In 1900, the company triumphed at the International Exhibition in Paris, earning the Grand Prize.

Chini’s modernist production style, featuring stylized and calligraphic modules, won awards at major international exhibitions. In 1901, the company participated in exhibitions in Ghent, Brussels, and Petersburg, where the Czarina purchased some of their ceramics.

While focusing on ceramics, Chini also worked as a painter and decorator. He participated in the Venice Biennale in 1901 with his painting “La Quiete” and continued to participate in this event until 1936.

In 1904, due to disagreements with the art direction of Ceramica, he left the company and founded Le Fornaci San Lorenzo in Borgo San Lorenzo, Mugello, with his cousin Chino. This new company also produced glass.

In 1907, Chini participated in the decoration of the Dream Room at the Venetian Biennale and later decorated the entrance dome’s details with art-themed objects. This work, admired by the King of Siam (now Thailand), led to a commission to fresco the Ananta Samakhom Throne Hall in Bangkok.

In 1911, Chini collaborated with architect Ugo Giusti on the Tuscan pavilion for the ethnographic exhibition in Rome. He then traveled to Thailand, returning in 1913. The following year, he created Diciotto Pannelli, inspired by Klimt’s work.

In 1914, he became a professor of decoration at the Academy of Fine Arts in Florence.

In 1917, he co-published the manifesto “Rinnovandoci Rinnoviamo,” advocating for the abolition of academies in favor of art-industrial schools.

In 1918, he created scenes for Puccini’s “Gianni Schicchi.” Around 1921, he worked on decorations at the Villa Scalini di Carbonate on Lake Como. Between 1922 and 1923, he frescoed the central staircase of the Lorenzo Berzieri thermal baths in Salsomaggiore. He also worked on set designs, including initial drafts for Puccini’s “Turandot” between 1923 and 1924.

After the 1925 Paris Art Exhibition, Chini distanced himself from the ceramic sector and focused more on painting canvases. His progressive blindness in the mid-1940s limited his work, and in his later years, he dealt with themes of death in very dark tones. Galileo Chini died in Florence in 1956.

Tracing Galileo Chini’s Masterpieces in Today’s Tuscan Landscape

For those eager to experience the enduring charm of Galileo Chini’s works in Tuscany today, numerous sites offer a glimpse into his artistic genius. Here’s where you can immerse yourself in his creations:

1- Palazzo Pitti, Florence

At the Palazzo Pitti, particularly in the Gallery of Modern Art, visitors can marvel at Chini’s diverse works. Notable among them is “Festa dell’ultimo dell’anno a Bangkok“, a vivid portrayal of Chini’s international influence.

2 – Borgo San Lorenzo

In Borgo San Lorenzo, nestled in the heart of Mugello, Galileo Chini’s artistic heritage is displayed with rich vibrancy. Notably, his ceramic Tabernacle in Borgo San Lorenzo is a significant piece, located in Via San Francesco.

Looking to dive into the world of pottery in Borgo San Lorenzo? Here’s a hot tip just for you!

Another key site is the Villa Pecori Giraldi, now home to the Chini Museo. This villa, with its rich history and connection to the Pecori Giraldi family, showcases an extensive collection of Chini’s art. The building itself, with its Renaissance-style facade and tower, along with the interior’s heraldic decorations, provides a fascinating backdrop to Chini’s works.

3 – Villa Museo Giacomo Puccini, Torre del Lago, Viareggio

The Villa Museo Giacomo Puccini in Torre del Lago, Viareggio, holds a special connection to Galileo Chini. This villa, where the renowned composer Giacomo Puccini lived, is adorned with decorations and paintings commissioned from various artists who frequented the lake, including Plinio Nomellini.

Read also: The Puccini Festival in Tuscany

It was Nomellini who introduced Chini to Puccini, leading to Chini’s commission of a large ceramic panel that now adorns the fireplace in the villa’s hall. The panel, characterized by its Liberty style, features a cherub holding a large branch of pink roses against a white background, intertwined with yellow ribbons and slender green bamboo stems, set against clouds rendered in thin gold lines. This collaboration marked the beginning of a lasting friendship and professional relationship between Chini and Puccini, with Chini later creating the set designs for Puccini’s “Gianni Schicchi” and his final opera, “Turandot.”

4 – Montecatini Terme

In Montecatini Terme, Chini’s influence can be seen in various locations such as the Terme Tamerici, Terme Tettuccio, the Town Hall (Palazzo Comunale), Stabilimento Termale Excelsior and the Grand Hotel La Pace.

These sites highlight Chini’s diverse artistic contributions, from ceramics to painting, reflecting his profound impact on the region’s cultural and artistic landscape.

For more comprehensive information about Galileo Chini, including details about his life, works, and the locations where his art can be seen, please visit https://www.galileochini.it/en/luoghi/. This website is a valuable resource for anyone interested in exploring the legacy of this renowned artist and the significant impact he had on the world of art and design.

Have you ever seen any of Galileo Chini’s works in person?