Piero Fornasetti Porcelain Commedia Dell'arte Plates - S/4

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The Decadent and the Deceptive:
Fornasetti's Maschere Italiane and the Eternal Stage of Commedia Dell'arte

The four porcelain plates from … Read more The Decadent and the Deceptive:
Fornasetti's Maschere Italiane and the Eternal Stage of Commedia Dell'arte

The four porcelain plates from the Maschere Italiane (Italian Masks) series by Piero Fornasetti, circa the 1970s, represent more than just decorative objects; they are a witty, post-modern tribute to the enduring archetypes of Italian theater. Fornasetti’s art is often characterized by the repetitive use of classical forms and an aesthetic rooted in visual puns and surreal juxtapositions. In these $10$-inch plates, he merges the high-spirited, often vulgar world of the $16^{th}$-century Commedia dell’arte with the refined elegance of mid-century Italian design, capturing the essence of each theatrical maschera (mask) in vivid color.

Historical Context: Fornasetti and the Eternal Mask

Piero Fornasetti (1913–1988) was an artist, sculptor, and designer whose output totaled over $11,000$ objects. His collaborations with architect Gio Ponti elevated everyday objects into functional works of art. A defining characteristic of his work is the meticulous, almost obsessive, cataloging and re-presentation of historical imagery, giving new life to forgotten motifs. The Commedia dell’arte, an improvisational form of popular street theater that flourished across Europe from the $16^{th}$ to the $18^{th}$ centuries, was an ideal subject for Fornasetti. Its characters are fixed, recognizable archetypes, allowing the artist to explore variations on a theme—a pattern central to his design philosophy.

The Commedia relied on stock characters—the Vecchi (old men), the Zanni (servants), and the Innamorati (lovers)—whose conflicts formed the basis of every scenario. These four plates depict a selection of these key figures, serving as a snapshot of the theatrical hierarchy of power, wit, and folly.

The Masks of Status and Subversion

The set features two figures representing the traditional ruling class (the Vecchi), and two representing the quick-witted working class (Zanni and related figures).

Il Dottore (The Doctor)

The figure of Il Dottore (Dottor Balanzone, specifically referenced by the plate’s #4 mark) is one of the Vecchi and the comic foil to Pantalone. The provided image shows him in a dark mask, a broad-brimmed hat, and an elaborate costume, holding a scroll, immediately conveying his pretentious erudition. His function in a Commedia scenario is to be an obstacle to the young lovers. As the "decadent erudite," he represents the hollow intellectualism and corruption of the professional class. Fornasetti's depiction, with the character's name typeset formally alongside the image, grounds the theatrical farce in a clean, modern aesthetic.

Columbina (The Tricky Servant)

Marked #7, Columbina (the "little dove") belongs to the class of Zanni or comic servants, but is often known for her wit and agency. She is famously Harlequin's mistress and Pierrot's wife, positioning her at the center of the play’s emotional and comedic dynamics. The plate depicts her not in a traditional mask, but as an engaging, richly dressed woman, perhaps holding a garland or rope, reflecting her role as a tricky slave—a master of manipulation whose intelligence allows her to subvert the rigid social order.

Meneghino and La Cecca (The Milanese Pair)

The presence of Meneghino (#12) and his wife La Cecca (#10) anchors this set specifically to Milanese culture. Meneghino is a variation on the Zanni servant character, but is defined by his honesty, sincerity, and strong sense of justice. Unlike the perpetually chaotic Harlequin, Meneghino represents the inherent dignity of the Milanese people. His plate shows him wearing his signature cocked three-cornered hat. La Cecca, as Meneghino’s wife, completes the regional, domestic pairing. Together, these two figures contrast sharply with the Venetian vecchi (like Il Dottore), representing a moral core within the world of theatrical satire.

Design and Provenance

Each plate (Diameter: 10 inches, 1 inch high) features a vibrant, hand-colored transfer of the character, with their name inscribed to one side. The provenance is confirmed by the specific back mark: "Maschere Italiane" is printed over a black and white image of a Colombina mask, which itself covers a green German Azberg mark. This mark is typical of pieces produced by Fornasetti, who often utilized high-quality German porcelain blanks and then applied his designs in his Milanese studio. The reference in Fornasetti: The Complete Universe (Page $615, # $164) further validates their authenticity and confirms their place within his wider repertoire of classical and theatrical motifs.

These plates are not merely reproductions; they are a witty, timeless collision between 16th-century theatrical anthropology and 20th-century Italian decorative art, serving as a powerful visual reminder of humanity's unchanging comedic roles.

(Ref: NY08496-kam) See less