Анализ сайта marshallcolman.com
Основное Готовность: 75%
Домен
marshallcolman.com
Состояние доменного имени
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Проверяем корректность доменного имени и наличие технических проблем на уровне домена.
Длина домена велика. Но если вы продвигаете запрос, входящий в название домена, то это хорошо.
Домен второго уровня идеален для продвижения.
Ответ сервера
200 Успешный ответ
HTTP-код ответа и цепочка редиректов
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Код 200 — страница доступна. Коды 3xx — редиректы (цепочки замедляют загрузку и размывают ссылочный вес). Коды 4xx/5xx — ошибки, поисковик не сможет проиндексировать страницу.
Сервер настроен корректно.
Цепочка редиректов:
http://marshallcolman.com
301 MovedPermanently
https://marshallcolman.wordpress.com/
200 OK
Безопасность
Сайт безопасен
Использование HTTPS и SSL-сертификат
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HTTPS — обязательный стандарт. Google и Яндекс отдают предпочтение защищённым сайтам. Отсутствие SSL или просроченный сертификат ведут к предупреждениям в браузере и снижению позиций.
На сайте работает защищенный протокол ssl и сайт открывается по https.
Ssl-сертификат действителен до 16.10.2026 0:59:52.
Включён HSTS (Strict-Transport-Security) — защита от подмены на http.
HTTP автоматически перенаправляется на HTTPS.
Поздравляем! Сайт не содержится в реестре РКН.
Кодировка
UTF-8
Кодировка символов страницы
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Стандарт — UTF-8. Неправильная кодировка вызывает нечитаемые символы и мешает поисковику корректно распознать текст страницы.
Указана кодировка на странице UTF-8.
Язык
en
Атрибут lang в HTML-теге
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Атрибут lang (<html lang="ru">) сообщает поисковикам и браузерам, на каком языке написана страница. Помогает при ранжировании в региональном поиске.
Язык документа указан явно: en.
Скорость загрузки
~0,50сек
Время отклика сервера (TTFB)
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Time To First Byte — время до получения первого байта от сервера. Норма до 200 мс. Медленный отклик ухудшает пользовательский опыт и ранжирование: Яндекс и Google учитывают скорость страниц.
Скорость загрузки сайта 0,50сек оптимальна.
Объем документа
397Кб
Размер HTML-кода страницы
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Слишком большой HTML замедляет парсинг браузером и сканирование поисковым роботом. Рекомендуется не более 200 Кб.
Объем html-документа 397Кб оптимален.
Структура html-документа корректна.
Ресурсы
Ресурсы: 23
Внешние ресурсы страницы (CSS, JS, изображения)
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Количество и тип подключённых ресурсов влияют на скорость загрузки. Большое число запросов увеличивает время рендеринга страницы.
Кол-во файлов ресурсов 23 много для одной страницы. Приемлемо до 10. Проведите оптимизацию файлов ресурсов!
Показать полный список ресурсов
| Тип | Название | Значение |
|---|---|---|
| stylesheet | text/css | /_static/??-eJxtjEkKgDAMAD9kjUuhJ/EtUqtE07SYFvH3bnjzMjAwDOxR2cDJcQKfVaQ8IwsQrk5gcSkOdlWPlVakgP/8C18HH8KNMdM1QZ6QMTkldgtEnx/3r/ddbYzRddU2ejkBpDkzwg==&cssminify=yes |
| stylesheet | text/css | /_static/??-eJx9jt1qwzAMRl9ospZ2kPZi7FGGYovGiWWbSG7p28+F/uyqN0L6OOdDeKngSzbOhjW1U8yKvkyp+FVx54aDG0Cj1MSw8dl9YYhqTwLUromdV/3Af0XS4NW1cc+lkt0I4RCJE0vH3mmX2h2YprqxKvQpsQnY3EV95y1slfx6v1FKyY/s98w5lA2pWREyi/5JK9PmZ5xaTAF7jVG2R7jU++b83PIKQjFDpWsqFG6f/Mj3MI7H/e5zPByXPxFUfKI=&cssminify=yes |
| stylesheet | text/css | /_static/??-eJydkNEKwjAMRX/IGh0D7YP4KbLV2GVr09J2DP/ebAgOFB/2Eu59OPcmgSkqE7ggF/Cjim60xBl6LLExw9uDD4HhRmzAImMiIfJvuTc572AVWjr0mCGOLRDfMaIMLkq8o9xhUhXk8nS4BRQEWhfMsKl2PmepVlM0wX9FrN6RUGqsSLt0fuw/yGJQslxTSJ63NurhGkozevWX4+lcaX3Qte5fvXGUcQ==&cssminify=yes |
| stylesheet | text/css | /wp-content/mu-plugins/global-print/global-print.css?m=1465851035i&cssminify=yes |
| stylesheet | text/css | /_static/??-eJyNjcEKwjAQRH/IuBWL0YP4KZJmQ7p1ky3dhOLf20ovIoiXYQZm5sE8Gi+5hFwgVTNyjZQVhlBG5x9bhiSyClYOCtq7KaBDfL4t5bj3qjv4/+lO2UNXiRFUPDk2LFH0I3x9lj6khd63EFk6x7+gM2EMRWGpbN7EidC4jIZJy7q9pevBno+ni21sM7wA5Zhh+w==&cssminify=yes |
| stylesheet | text/css | https://s0.wp.com/?custom-css=1&csblog=6v2dS&cscache=6&csrev=4 |
| stylesheet | text/css | /_static/??-eJyNjMEKhDAMBX9IfaiIXsRPWdxskGqbFNPi7y+CevY4wzA4YkkqiSUh5DL6vDgxrJziTNvFCKqCjxPC1yttBjtc5L0iswLvD0F/2bOB5l2zsX+iW5zDKYx1P3RN07b1sP4BKPs7aw==&cssminify=yes |
| stylesheet | text/css | /wp-content/mu-plugins/jetpack-plugin/moon/modules/tiled-gallery/tiled-gallery/tiled-gallery.css?m=1753089498i&cssminify=yes |
| js | text/javascript | /wp-content/js/rlt-proxy.js?m=1720530689i |
| js | //0.gravatar.com/js/hovercards/hovercards.min.js?ver=202634d1133547e8a1f2801609f51cef12522abe7f6647d869e9fbc974fe356a37e613 | |
| js | text/javascript | /wp-content/mu-plugins/gravatar-hovercards/wpgroho.js?m=1610363240i |
| js | text/javascript | /_static/??/wp-content/mu-plugins/likes/queuehandler.js,/wp-content/mu-plugins/jetpack-plugin/moon/_inc/build/infinite-scroll/infinity.min.js?m=1777410324j |
| js | /wp-content/plugins/gutenberg-core/v23.8.0/build/scripts/hooks/index.min.js?m=1787137145i&ver=f0f188028580e8dc1255 | |
| js | /wp-content/plugins/gutenberg-core/v23.8.0/build/scripts/i18n/index.min.js?m=1787137145i&ver=1dfe7db3940c23ea9216 | |
| js | text/javascript | /_static/??/wp-content/mu-plugins/jetpack-plugin/moon/jetpack_vendor/automattic/jetpack-assets/build/i18n-loader.js,/wp-includes/js/dist/vendor/wp-polyfill.min.js?m=1786440387j |
| js | /wp-content/plugins/gutenberg-core/v23.8.0/build/scripts/url/index.min.js?m=1787137145i&ver=7b0de086d4ae11d55704 | |
| js | text/javascript | /wp-content/mu-plugins/jetpack-plugin/moon/jetpack_vendor/automattic/jetpack-search/build/instant-search/jp-search.js?m=1785850560i |
| js | //stats.wp.com/w.js?ver=202634 | |
| js | text/javascript | /_static/??-eJydkMFuwzAMQ39ospC0w3IZ9imD46itElsSLLvd568F2m3YsRcCJMh3IF4MkkojaWi5H1kck85Z0+Y4hmEKAzgXywSVzmGPC3vD9bcEWeNCNRSWsPoL/uG1ExVytD4jy0JGV5EGV5/ZT1RhvIEknvkYG+uTe9/YILNscNDUHQ789QSIJaGnytbgYknLf0Tp8LhnpWYxbXePRVXw87afO+cFU6zanfJP7xHcL/oo78Pb9DqOu90wrd+xKY1t |
| js | /wp-content/mu-plugins/jetpack-plugin/moon/_inc/build/tiled-gallery/tiled-gallery/tiled-gallery.min.js?m=1755006225i&ver=16.2-a.2 | |
| js | text/javascript | /_static/??/wp-content/mu-plugins/carousel-wpcom/carousel-wpcom.js,/wp-content/mu-plugins/jetpack-plugin/moon/_inc/build/sharedaddy/sharing.min.js?m=1786736522j |
| js | //stats.wp.com/w.js?69 | |
| js | /wp-content/js/bilmur.min.js?i=17&m=202634 |
Серверные заголовки
Кол-во: 10
HTTP-заголовки ответа сервера
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Заголовки сервера передают браузеру и поисковику служебную информацию: кеширование, безопасность (CSP, HSTS), сжатие (gzip). Правильная настройка ускоряет загрузку и повышает защищённость.
Найдены серверные заголовки 10шт. Подробнее про серверные заголовки.
Показать полный список серверных заголовков
| Ключ | Значение |
|---|---|
| Server | nginx |
| Date | Sat, 22 Aug 2026 05:27:24 GMT |
| Vary | Accept-Encoding |
| x-hacker | Want root? Visit join.a8c.com/hacker and mention this header. |
| host-header | WordPress.com |
| Link | <https://public-api.wordpress.com/wp-json/?rest_route=/sites/marshallcolman.wordpress.com>; rel="https://api.w.org/" |
| x-ac | 14.arn _dca UPDATING |
| Alt-Svc | clear |
| Strict-Transport-Security | max-age=31536000 |
| Server-Timing | a8c-cdn, dc;desc=arn, cache;desc=UPDATING;dur=5.0 |
CMS
WordPress
Система управления сайтом (движок)
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CMS — это движок, на котором работает сайт (WordPress, 1C-Bitrix, Tilda и др.). Знание CMS помогает понять возможности SEO-оптимизации и подобрать подходящие инструменты. «Не определена» — вероятно, самописный сайт или нестандартная сборка.
Сайт работает на CMS WordPress.
Веб-сервер
nginx
Программное обеспечение сервера
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Веб-сервер — это ПО, которое отдаёт страницы посетителям (nginx, Apache, IIS, LiteSpeed и др.). Определяется по серверным заголовкам ответа (Server, X-Powered-By и т.п.). «Не определён» — сервер намеренно скрывает эти заголовки, это нормальная практика безопасности.
Сайт работает на веб-сервере nginx.
Мета-теги Готовность: 63%
Title
MARSHALL COLMAN – Visual arts mainly
Заголовок страницы в браузере и поисковой выдаче
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Title — главный SEO-заголовок страницы. Влияет на CTR в поиске и ранжирование. Оптимальная длина: 50–70 символов. Ключевые слова — ближе к началу.
Дублей словоформ в title не найдено.
Число символов в title 42 оптимально (норма: от 40 до 45).
Description
Visual arts mainly
Описание страницы в поисковой выдаче (сниппет)
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Meta Description — текст под заголовком в выдаче. Напрямую на позиции не влияет, но влияет на CTR. Оптимальная длина: 120–160 символов.
Необходимо увеличить число символов в description (текущее значение мало: 18, минимум: 80, оптимально: от 120 до 130)
Keywords
Список ключевых слов страницы (устаревший тег)
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Meta Keywords не учитывается Яндексом и Google для ранжирования с 2009–2012 годов. Заполнение не обязательно, но не вредит. Конкурент может использовать содержимое для анализа.
Установите мета-тег keywords!
Канонический Url
Указывает поисковику основную версию страницы
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Canonical (rel=canonical) предотвращает проблему дублей страниц. Должен точно совпадать с URL проверяемой страницы. Неправильный canonical может передать ссылочный вес на другую страницу.
Рекомендуем прописать канонический Url.
Robots
Есть ошибки
Директивы для поисковых роботов на уровне страницы
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Meta Robots управляет индексацией конкретной страницы: index/noindex — индексировать ли, follow/nofollow — следовать ли по ссылкам. Noindex полностью исключает страницу из поиска.
Meta-тег robots указан, но в нем содержится неизвестное значение...
Адаптивность
width=device-width, initial-scale=1
Настройка масштабирования на мобильных устройствах
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Тег viewport (<meta name="viewport">) сообщает браузеру, как масштабировать страницу на мобильных. Стандарт: width=device-width, initial-scale=1. Отсутствие — признак отсутствия мобильной версии.
Meta-тег viewport со значением-константой width=device-width задаёт ширину страницы в соответствии с размером экрана.
Meta-тег viewport со значением initial-scale=1.0 определяет масштаб 1:1, т.е. «не масштабировать».
Разметка OpenGraph
Кол-во: 10
Мета-теги для красивых превью в соцсетях
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OpenGraph (og:title, og:description, og:image) управляет тем, как страница выглядит при репосте в социальных сетях и мессенджерах. Отсутствие OG-тегов — невзрачный превью при шеринге.
Разметка OpenGraph задана. Страница оптимизирована под социальные сети.
Показать полный список og мета-тегов
| Тип | Значение |
|---|---|
| og:type | website |
| og:title | MARSHALL COLMAN |
| og:description | Visual arts mainly |
| og:url | https://marshallcolman.wordpress.com/ |
| og:site_name | MARSHALL COLMAN |
| og:image | https://marshallcolman.wordpress.com/wp-content/uploads/2024/07/wp-1720186954851.jpg?w=200 |
| og:image:width | 200 |
| og:image:height | 200 |
| og:image:alt | |
| og:locale | en_US |
Все мета-теги
Кол-во: 20
Полный список мета-тегов страницы
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Таблица всех meta-тегов, включая нестандартные. Позволяет найти опечатки, дубли и лишние теги.
Найдены мета-теги 20шт. Мета-теги не видимы для человека и предназначены для обмена информацией между веб-страницей и поисковыми системами, браузерами и другими веб-службами. С ними роботы 🤖 и устройства ведут себя более ожидаемо.
Показать полный список мета-тегов
| Тип | Название | Значение |
|---|---|---|
| name | viewport | width=device-width, initial-scale=1 |
| name | robots | max-image-preview:large |
| name | generator | WordPress.com |
| name | twitter:creator | @marshallcolman |
| name | twitter:site | @marshallcolman |
| name | theme-color | #f9f9f9 |
| name | description | Visual arts mainly |
| name | msapplication-TileImage | https://marshallcolman.wordpress.com/wp-content/uploads/2024/07/wp-1720186954851.jpg?w=270 |
| property | og:type | website |
| property | og:title | MARSHALL COLMAN |
| property | og:description | Visual arts mainly |
| property | og:url | https://marshallcolman.wordpress.com/ |
| property | og:site_name | MARSHALL COLMAN |
| property | og:image | https://marshallcolman.wordpress.com/wp-content/uploads/2024/07/wp-1720186954851.jpg?w=200 |
| property | og:image:width | 200 |
| property | og:image:height | 200 |
| property | og:image:alt | |
| property | og:locale | en_US |
| property | fb:app_id | 249643311490 |
| property | bilmur:data |
Оптимизация Готовность: 82%
Структура
Ошибок нет
Семантические HTML-элементы страницы
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Проверяет наличие основных структурных элементов: nav, header, footer, main. Корректная семантическая структура помогает поисковику понять архитектуру страницы.
Структура документа корректна (теги <html> и <body> присутствуют в единственном экземпляре).
Контент
Ошибок нет
Объём и качество текстового содержимого
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Анализирует объём полезного текста на странице. Слишком мало — страница может считаться малополезной. Слишком много — ухудшается читаемость и восприятие.
Слова из title 5 встречаются в тексте достаточно.
Абзацев с текстом 132 достаточно.
Среднее число слов в абзаце 65 достаточно.
Кол-во знаков контента 61834 на странице оптимально.
Кол-во слов 10243 на странице оптимально.
Заголовки
Ошибок нет
Иерархия заголовков H1–H6
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H1 должен быть один и содержать ключевой запрос. H2–H6 описывают подразделы. Пропуск уровней (H1 → H3) и несколько H1 — типичные ошибки, снижающие понятность страницы для поисковика.
На странице присутствуют заголовки <h1> 14. Это прекрасно.
На странице присутствуют заголовки <h2> 1. Это хорошо.
На странице присутствуют заголовки <h3> 13.
Тошнота
10,95
Насколько одно слово доминирует в тексте
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Классическая тошнота = √(частота самого повторяющегося слова). Норма до 7–8: текст воспринимается естественно. Выше — поисковик может счесть страницу переспамленной.
Тошнота превышает норму 5. Измените текст страницы!
Академич. тошнота
47,54%
Насколько текст перенасыщен ключевыми словами
?
Академическая тошнота = (частота слова / общее количество слов) × 100%. Показывает долю конкретного слова в тексте. Норма 5–15%.
Академическая тошнота превышает норму 5-15%. Измените текст страницы!
Семантическое ядро
20
Наиболее часто встречающиеся слова на странице
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Топ слов по частоте использования. Показывает, какие слова доминируют в тексте с точки зрения поисковика.
Контент страницы содержит осмысленный текст и слова.
Показать список слов
| Слово | Кол-во | Частота |
|---|---|---|
| window | 120 | 1,17% |
| italian | 33 | 0,32% |
| modern | 27 | 0,26% |
| 20 | 0,20% | |
| 20 | 0,20% | |
| 20 | 0,20% | |
| 20 | 0,20% | |
| threads | 20 | 0,20% |
| bluesky | 20 | 0,20% |
| tumblr | 20 | 0,20% |
| 20 | 0,20% | |
| pavilion | 19 | 0,19% |
| january | 19 | 0,19% |
| august | 18 | 0,18% |
| february | 18 | 0,18% |
| painting | 17 | 0,17% |
| exhibits | 17 | 0,17% |
| october | 17 | 0,17% |
| ceramics | 16 | 0,16% |
| futurist | 16 | 0,16% |
Индексация Готовность: 10%
Индексирование
Есть ошибки
Разрешено ли индексирование страницы
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Проверяет, не закрыта ли страница от индексации через robots.txt, meta robots или X-Robots-Tag. Страница, закрытая от индексации, не появится в поисковой выдаче.
Анкоров на странице 430 слишком много. Проведите ревизию и оптимизацию ссылок сайта.
Robots.txt
Найден корректный robots.txt
Файл управления сканированием сайта роботами
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Robots.txt указывает поисковым роботам, какие страницы сканировать, а какие — нет. Ошибки в файле могут случайно закрыть важные разделы от индексации.
Robots.txt настроен корректно. Размер файла: 406952 байт. Загружен за: 0сек.
Проверяемая страница не запрещена в robots.txt.
Robots.txt доступен по постоянному адресу
Цепочка редиректов для файла robots.txt:
http://marshallcolman.com/robots.txt
301 MovedPermanently
https://marshallcolman.wordpress.com/
200 OK
Показать содержимое robots.txt
<!DOCTYPE html>
<html lang="en">
<head>
<meta charset="UTF-8">
<meta name="viewport" content="width=device-width, initial-scale=1">
<link rel="profile" href="http://gmpg.org/xfn/11">
<title>MARSHALL COLMAN – Visual arts mainly</title>
<script type="text/javascript">
WebFontConfig = {"google":{"families":["Merriweather+Sans:300:latin,latin-ext","Merriweather:r,i,b,bi:latin,latin-ext"]},"api_url":"https:\/\/fonts-api.wp.com\/css"};
(function() {
var wf = document.createElement('script');
wf.src = '/wp-content/plugins/custom-fonts/js/webfont.js';
wf.type = 'text/javascript';
wf.async = 'true';
var s = document.getElementsByTagName('script')[0];
s.parentNode.insertBefore(wf, s);
})();
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<article id="post-12156" class="post-12156 post type-post status-publish format-standard hentry category-1920s category-design category-graphic-art category-modernism category-uncategorized tag-bologna tag-depero tag-futurism tag-marinetti tag-venice">
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<h1 class="entry-title"><a href="https://marshallcolman.wordpress.com/2026/08/21/depero-and-the-rebel-sisters/" rel="bookmark">DEPERO AND THE REBEL SISTERS</a></h1> </header><!-- .entry-header -->
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<figure class="aligncenter size-large"><img data-attachment-id="12161" data-permalink="https://marshallcolman.wordpress.com/2026/08/21/depero-and-the-rebel-sisters/20250512_1631422/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/08/20250512_1631422.jpg" data-orig-size="2296,3059" data-comments-opened="1" data-image-meta="{"aperture":"1.8","credit":"","camera":"Galaxy A35 5G","caption":"","created_timestamp":"1747067502","copyright":"","focal_length":"4.69","iso":"160","shutter_speed":"0.01","title":"","orientation":"1","alt":""}" data-image-title="20250512_163142~2" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/08/20250512_1631422.jpg?w=500" width="500" height="666" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/08/20250512_1631422.jpg?w=500" alt="" class="wp-image-12161" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/08/20250512_1631422.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/08/20250512_1631422.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/08/20250512_1631422.jpg?w=113 113w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/08/20250512_1631422.jpg?w=225 225w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/08/20250512_1631422.jpg?w=768 768w" sizes="(max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-drop-cap wp-block-paragraph" style="line-height:2">Fortunato Depero, one of the leading Futurists, was also a successful commercial artist, famous for having designed the Campari bottle and posters for San Pellegrino. This was despite his being close to Marinetti, co-author of the grandiose <em>Futurist Reconstruction of the Universe </em>and a key contributor to the <a href="https://marshallcolman.wordpress.com/2026/02/20/art-deco-italy-at-paris-1925/">Futurist Pavilion at Paris </a>in 1925.</p>
<p class="wp-block-paragraph" style="line-height:2">The excellent cafe in Mercato di Mezzo in Bologna, <a href="https://www.facebook.com/sorelleribelli/">Sorelle Ribelli </a>(Rebel Sisters), where I had lunch on my last visit, had a nice logo (<em>above</em>) that put me in mind of Depero, and I was right to be reminded of him because I recently found his design for the cover of the <em>Movie Makers </em>review (<em>below</em>), done in New York in 1929, which obviously influenced the Rebel Sisters.The original is in the <a href="https://archivio-correr.visitmuve.it/it/mostre/archivio-mostre/depero-opere-della-collezione-fedrizzi/2011/10/5429/la-collezione-fedrizzi/">Fedrizzi Collection </a>in Venice.</p>
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<figure class="aligncenter size-large"><img data-attachment-id="12163" data-permalink="https://marshallcolman.wordpress.com/2026/08/21/depero-and-the-rebel-sisters/20260821_105706/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/08/20260821_105706.jpg" data-orig-size="2052,2775" data-comments-opened="1" data-image-meta="{"aperture":"1.8","credit":"","camera":"Galaxy A35 5G","caption":"","created_timestamp":"1787309827","copyright":"","focal_length":"4.69","iso":"100","shutter_speed":"0.01","title":"","orientation":"1","alt":"","latitude":"51.772270599722","longitude":"-0.3441306"}" data-image-title="20260821_105706" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/08/20260821_105706.jpg?w=500" width="500" height="676" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/08/20260821_105706.jpg?w=500" alt="" class="wp-image-12163" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/08/20260821_105706.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/08/20260821_105706.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/08/20260821_105706.jpg?w=111 111w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/08/20260821_105706.jpg?w=222 222w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/08/20260821_105706.jpg?w=768 768w" sizes="(max-width: 500px) 100vw, 500px" /></figure>
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<h1 class="entry-title"><a href="https://marshallcolman.wordpress.com/2026/08/17/dorothy-hepworth/" rel="bookmark">DOROTHY HEPWORTH</a></h1> </header><!-- .entry-header -->
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<p class="wp-block-paragraph">If you were born in the lovely Thameside village of Cookham and lived there all your life, as the artist <a href="https://marshallcolman.wordpress.com/2026/07/11/stanley-spencer-and-the-commissars/" target="_blank" rel="noreferrer noopener">Stanley Spencer</a> did, you might well believe that Heaven was real and that it looked a lot like Cookham, as Spencer did.</p>
<p class="wp-block-paragraph">I went there on a glorious summer’s day to visit the Stanley Spencer Gallery, which is in the old Methodist Chapel. When he was a boy, Spencer’s family prayed there on Sunday and they also prayed in the Anglican church, so Spencer got a good dose of Christianity, which stayed with him in a funny way.</p>
<p class="wp-block-paragraph">For Spencer, religion was enmeshed with autobiography and sexual passion, and it has to be admitted that, although he was a good and successful artist (a war artist, elected RA, knighted) much of the interest in him derives from his bizarre personal life.</p>
<p class="wp-block-paragraph">He remained a provincial. He was a star student at the Slade, but lived at home all the time and commuted to London every morning. But he fell in with an artistic family in Hampstead, the Carlines, and he married Hilda Carline, to whom he remained passionately devoted, even after they separated and even after her death.</p>
<p class="wp-block-paragraph">Living with Hilda in Cookham he became fascinated by another artist in the village, Patricia Preece, a tall, glamorous, assertive woman, who lived with her lover, the artist Dorothy Hepworth. Spencer thought it would be a jolly good idea to have two wives, Hilda and Patricia, but Hilda didn’t agree and divorced him.</p>
<p class="wp-block-paragraph">How could Spencer or Preece have imagined for a moment that a marriage between them could succeed? It broke down within days, but Spencer remained obsessed with her and gave her his money and his house, where she and Dorothy remained for the rest of their lives.</p>
<p class="wp-block-paragraph">If it wasn’t for these strange events the art of Dorothy Hepworth might be forgotten, and even more Dorothy Hepworth’s name, because although she exhibited steadily, her work was always passed of as that of Patricia Preece’s. Hepworth was shy and unambitious. Preece was pushy and socially adept. (Some also described her as rude and surly.) Hepworth was a good painter, not innovative or origional but dedicated and able.</p>
<p class="wp-block-paragraph">Unknown models went to the house, where Hepworth painted in silence. Preece flitted about in the background. Problems only arose when patrons commissioned portraits from Preece.</p>
<p class="wp-block-paragraph">Art forgeries happen from time to time. Imitation is common. In China, respect for the ancients was so great that capable artists often pretended their work was by a master from the past. But a competent artist allowing – even asking – a lesser artist to pass off her work as her own in the way Dorothy Hepworth did may well be unique.</p>
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<a href="https://marshallcolman.wordpress.com/2026/08/17/dorothy-hepworth/" rel="bookmark"><time class="entry-date published" datetime="2026-08-17T18:31:43+00:00">17 August 2026</time><time class="updated" datetime="2026-08-17T18:32:05+00:00">17 August 2026</time></a>
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<article id="post-12083" class="post-12083 post type-post status-publish format-standard hentry category-1920s category-museums category-painting tag-censorship tag-stanley-spencer tag-tate-gallery">
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<h1 class="entry-title"><a href="https://marshallcolman.wordpress.com/2026/07/11/stanley-spencer-and-the-commissars/" rel="bookmark">STANLEY SPENCER AND THE COMMISSARS</a></h1> </header><!-- .entry-header -->
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<figure class="aligncenter size-large is-resized"><img data-attachment-id="12093" data-permalink="https://marshallcolman.wordpress.com/2026/07/11/stanley-spencer-and-the-commissars/stanley-spencer-2048x1048/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/07/stanley-spencer-2048x1048-1.jpeg" data-orig-size="2048,1048" data-comments-opened="1" data-image-meta="{"aperture":"1.6","credit":"","camera":"iPhone 12 Pro Max","caption":"","created_timestamp":"1671015597","copyright":"","focal_length":"5.1","iso":"640","shutter_speed":"0.032258064516129","title":"","orientation":"1","alt":""}" data-image-title="stanley-spencer-2048&#215;1048" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/07/stanley-spencer-2048x1048-1.jpeg?w=500" loading="lazy" width="500" height="255" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/07/stanley-spencer-2048x1048-1.jpeg?w=500" alt="" class="wp-image-12093" style="width:740px;height:auto" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/07/stanley-spencer-2048x1048-1.jpeg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/07/stanley-spencer-2048x1048-1.jpeg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/07/stanley-spencer-2048x1048-1.jpeg?w=150 150w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/07/stanley-spencer-2048x1048-1.jpeg?w=300 300w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/07/stanley-spencer-2048x1048-1.jpeg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-drop-cap wp-block-paragraph">Stanley Spencer was one of those eccentric, clever painters who pursued their vision unconcerned about what others were doing or what they thought of them. The list includes Hieronymus Bosch, <a href="https://marshallcolman.wordpress.com/2021/09/28/paula-rego/">Paula Rego</a>, Henri Rousseau and <a href="https://marshallcolman.wordpress.com/2025/07/23/edward-burra/">Edward Burra</a>. The Tate Gallery were given Spencer’s <em>Resurrection in Cookham </em>in 1927, which, when it was painted, <em>The Times</em> thought the most important painting by an artist that century. But it has not been on display for some time because the gallery now think it improper and ill-conceived. This is what they say about it:</p>
<p class="wp-block-paragraph">“Most of the white people are local friends or specific biblical figures. By contrast, Spencer represents the group of Black people at the centre of the painting in a generalising way. They are not based on people he knew, but on images he saw in <em>National Geographic</em> magazine</p>
<p class="wp-block-paragraph">“Spencer intended to show that all humanity would be included in the resurrection, but in trying to make this point he reinforced racist stereotypes and divisions accepted at the time by most white British people.”</p>
<p class="wp-block-paragraph">Under Maria Balshaw’s directorship, Tate have returned to the <a href="https://marshallcolman.wordpress.com/2026/06/04/ruskins-critics/">moralising art criticism of the Victorian era</a>. The 18th and 19th century galleries are now full of hectoring labels that treat art as an illustration of social conditions or a rebuke to artists for not referring to them. People who grew up in eastern Europe before 1989 say that communist art criticism was similar. (Balshaw recently resigned.) </p>
<p class="wp-block-paragraph">“Generalised representation,” which has been used to condemn the <em>Cookham Resurrection, </em>isn’t an established term in art criticism and it has been used ad hoc by Tate to negatively judge Spencer, though Joshua Reynolds advocated it, believing precisely that the artist should paint types rather than specifics. In his <em>Discourses on Art </em>he said, “On the site of the Capel la Sistina [Raphael] immediately from a dry, Gothic, and even insipid manner, which attends to the minute accidental discriminations of particular and individual objects, assumed that grand style of painting, which improves partial representation by the general and invariable ideas of nature.”</p>
<p class="wp-block-paragraph">Be that as it may, it’s hardly the job of curators to correct the artist. What Tate’s visitors want is an explanation of the artist’s ideas. Spencer’s ideas are in fact a long way from what the Tate’s commissars says about them, and one can only wonder what their motive is in misrepresenting him. Whatever it is, under Balshaw’s direction visitor numbers have fallen, while in other museums they have risen.</p>
<p class="wp-block-paragraph">Tate are actually in a good position to explain this eccentric artist because they possess his entire archive. They must have trawled through it to find out that he used <em>National Geographic</em> as reference material. But Spencer also wrote at length about the creation of the <em>Cookham Resurrection</em>, and Tate should tell us what he said about it rather than having their commissars tell him off. His comments make it plain that the black people in the picture are not generalised representations at all and are depicted in the same individualised and peculiar way as everyone else.</p>
<p class="wp-block-paragraph">Here is what Spencer said.</p>
<p class="wp-block-paragraph">“I was on bedrock in this picture. I knew it was impossible for me to go wrong. It may be of interest to give a description literally of what the people in this picture are doing.</p>
<p class="wp-block-paragraph">“Reading from left to right: People tracing their own names out on the stones, and above wandering off towards the river. There is a white hedge of May and some Cow Parsley. As it is Heaven there is no hurrying to be off, and I have expressed their being content to remain where they are by the reclining man on the tombs, bottom left. A girl smells a flower to see if it still has the same scent.</p>
<p class="wp-block-paragraph">“I remember at home my mother used always to give my father’s coat a ‘brush down’ before he left to go teaching. So by the tower the wives brush the earth off their husbands’ coats, adjust their collars and button their coats etc.</p>
<p class="wp-block-paragraph">“The long row of saints or holy men, ranged in sort of stone seats, like small buttresses projecting all along the side of the church, are meant to express different levels or states of spiritual thinking, such as contemplation, consideration, pondering, understanding, adhering, believing and so on. They are doing the chief jobs of thinking. They represent the resurrection of thought and reason etc.</p>
<p class="wp-block-paragraph">“The other resurrecting ones are doing the simpler jobs of enjoying the peace. They have resurrected from a state of rest into a new state of rest, the lively and productive state of peace. And so they are, as it were, at home before they have got right out of their graves. Some have got right out and are showing the perfection of doing nothing.</p>
<p class="wp-block-paragraph">“The blacks are respectively enjoying: 1. feeling a round stone; 2. feeling an arm; 3. resting an arm on a soft spongey object; 4. resting the hand on a many-faceted piece of rock; 5. feeling the surface of the ground; 6. playing with sand; 7. putting a hand in a hole; 8. touching the hem of Christ’s robe.</p>
<p class="wp-block-paragraph">“The reclining stone figure seems also to share the joy of the resurrection, although he remains the stone he is. The relationship of the relative shapes of the porch, and the ivy covered tomb in the foreground, the tall dark fir to the right of this tomb, and the grave with the wreaths constitutes the main structure in which the picture rests.</p>
<p class="wp-block-paragraph">“I liked the fact that as I placed the grand wreaths on the grave just mentioned, I noticed that the grave was covered with ordinary meadow growth clover, plantains, etc, so that the flowers would mix. It was like an act of worship to a souls arriving in heaven. I also liked the bas relief of the sort of Lord Mayor man, on the stone above him, almost repeating his movement. And the girl’s dress patterned with flowers similar to those on her grave</p>
<p class="wp-block-paragraph">“The girl resurrecting by the wall covered with virginia creeper is showing the other girl a wreath that she put on the other’s grave, and the affectionate message she wrote on it. In the bottom right-hand corner is another ‘me’.</p>
<p class="wp-block-paragraph">“The collapsing tombs interlock like the pages of a book. I love the pages of a book, an open book, and so I am where I love to be.”</p>
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<a href="https://marshallcolman.wordpress.com/2026/07/11/stanley-spencer-and-the-commissars/" rel="bookmark"><time class="entry-date published" datetime="2026-07-11T17:14:14+00:00">11 July 2026</time><time class="updated" datetime="2026-07-21T05:51:38+00:00">21 July 2026</time></a>
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<article id="post-12017" class="post-12017 post type-post status-publish format-standard hentry category-painting tag-elizabeth-eastlake tag-j-m-w-turner tag-ruskin tag-william-morris">
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<h1 class="entry-title"><a href="https://marshallcolman.wordpress.com/2026/06/04/ruskins-critics/" rel="bookmark">RUSKIN’S CRITICS</a></h1> </header><!-- .entry-header -->
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-1 wp-block-paragraph">Elizabeth Eastlake, one of Ruskin’s fiercest critics.</p>
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<p class="has-drop-cap wp-block-paragraph">Ruskin was the pre-eminent Victorian art critic and probably the only one that people could name today. <em>Modern Painters,</em> begun as a defence of Turner, was an influential book and its reputation was well earned. Ruskin had an extensive knowledge of paintings, made close observations and had firm principles. His detailed descriptions were valuable in an age when art was less accessible than it is today. The book is the fruit of tireless travel and intense study and it demonstrates great powers of thought.</p>
<p class="wp-block-paragraph">Later, as Ruskin began to turn his attention from art to social conditions, his popularity waned. He was an odd sort of radical, a searing critic of industrial civilisation but, as he described himself, “a violent Tory of the old school.” But he had his detractors even before he turned to social questions, and before the last volume of <em>Modern Painters </em>came out, his art criticism was being repudiated. One of those who repudiated it was another important art critic, but one who is not widely known today, <a href="https://en.wikipedia.org/wiki/Elizabeth_Eastlake">Lady Elizabeth Eastlake.</a></p>
<p class="wp-block-paragraph">Elizabeth Eastlake was part of the Ruskin circle. She became a confidante of Ruskin’s wife Effie and as she got to know the Ruskins and saw how badly Ruskin treated her, she developed a personal dislike of him. Her husband, Sir Charles Eastlake, was also an important figure in the art world, the first director of the National Gallery and then president of the Royal Academy. Ruskin’s negative view of his paintings further alienated Lady Eastlake. In 1856 she wrote an anonymous review of <em>Modern Painters </em>in <em>The Quarterly</em>, whose excoriating prose sometimes rivalled Ruskin’s.</p>
<p class="wp-block-paragraph">She acknowledged the good reasons for Ruskin’s popularity: “In the first place he is a thinker — a character sufficiently rare to obtain — we do not say to deserve, for that depends on the issue — that class of thoughtful readers of whom a writer may be justly proud. In the next place he is a very positive and confident thinker — also a comparatively rare phenomenon — and any positive man or opinion commands, at least for a time, a certain amount of followers, for people naturally trust those who trust themselves. And further, he is a positive and confident thinker on a subject which is now engaging the attention of a large class of the educated English public.” Few have taken issue with him because few can match his erudition, but many are afraid to do so because he is such a ferocious controversialist.</p>
<p class="wp-block-paragraph">She took up Ruskin’s fierce denunciations and intemperate language. “Mr. Ruskin’s writings have all the qualities of premature old age — its coldness, callousness, and contraction. His contradictions and false conclusions are from the beginning those of a cold and hardened habit, in which no enthusiasm involuntarily leads astray, and no generosity instinctively leads aright. His revilings of all that is most sacred in the past, and his insults to all who are most sensitive in the present, bear the stamp of proceeding rather from an unfeeling heart than a hasty judgement.”</p>
<p class="wp-block-paragraph">Her main criticism is of Ruskin’s conception of art: that painting is a language that must express thoughts. Ruskin says that painting “is nothing but noble and expressive language invaluable as the vehicle of thought, but by itself nothing.” He argues that it is the artist’s duty faithfully to represent nature, not merely as a clever copy — as a photo, as we would say today — but as the expression of truth, which is the glory of God’s creation. Eastlake says that Ruskin is wrong: art does not teach religion or morality.</p>
<p class="wp-block-paragraph">She says that that the language of painting is <em>sui generis </em>and that it is not the equivalent of language in other artistic forms, such as poetry. The language of painting is all that it is, and it is not intended to express thoughts. The expression of thoughts does not need painting and painting does not need to express thoughts. “Art is not a trade which is taught in two distinct stages. A man does not first learn to paint, and then to think.”</p>
<p class="wp-block-paragraph">Eastlake then turns to Ruskin’s uncharitableness towards artists that he dislikes and to the curious fact of a scholarly critic dismissing large swathes art. “What have been the results of all the supposed religious and moral teaching of art upon the writer himself?” she asks. “Independent of all the attacks upon painters, living or dead, the mere incidental and accessory portions teem with a malice, bitterness, and uncharitableness, which is as uncalled for as it is unjustifiable.”</p>
<p class="wp-block-paragraph">She mentions the odd fact that Ruskin professes to have written <em>Modern Painters </em>in order to defend Turner. But why did he think it was necessary to do so “considering that this great painter received while living the unfeigned and unstinted admiration of every British artist worthy of the name?” She might have added that he was enrolled in the Royal Academy Schools at the age of fourteen, became a Royal Academician at the age of 24 and rose to be its vice president. Ruskin may be the source of a lingering belief that Turner had to struggle against indifference, an idea that shaped a BBC TV programme, <em><a href="https://www.bbc.co.uk/programmes/m002mgn1">Turner: The Secret Sketchbooks</a>,</em> that presented him as a working-class genius who was blocked by an upper-class establishment.</p>
<p class="wp-block-paragraph">One man who read <em>Modern Painters </em>and fell under its spell was William Morris. He was stung by Eastlake’s article and leapt to Ruskin’s defence in <em>The Oxford and Cambridge Magazine. </em>His was a juvenile article. He either misunderstood Eastlake or deliberately misrepresented her and he trivialised her argument about the language of art by saying, mistakenly, that in her view the only purpose of art was to tickle the senses.</p>
<p class="wp-block-paragraph">Morris stuck to Ruskin’s idea that art had to tell the truth and that it had to have a moral purpose. He wrote in an assertive, high-flown prose that didn’t really explain why anyone should believe that what Ruskin had said was true. </p>
<p class="wp-block-paragraph">It is one of the few writings in which Morris mentions specific artists by name. Unlike Ruskin, he was not an art historian, but he shares Ruskin’s antipathies. His response to art was emotional and his interests were narrow. He not only disliked Renaissance art and 17th century landscape painters as Ruskin did, but during the course of his life he also came to dislike Turner, Whistler and the French Impressionists.</p>
<p class="wp-block-paragraph">In <em>Modern Painters </em>Ruskin attempted to develop a theory of aesthetics, a sustained piece of philosophical writing that was meant to underpin his art criticism. He never revised his ideas, although later in his life, when his religious faith began to wane, he must have changed his mind. Eastlake does not discuss this theory, except to make a nod towards subjectivism and relativism: “Our sensibilities to anything, from the relish for poetry to that for an orange, are facts in ourselves, the grounds of which we are not required to define.” Morris was not interested in such questions and passes over them entirely, but he thought it unarguable that art had a moral purpose and, at this stage of his life, he was inclined to agree with Ruskin that the purpose of art was to reveal the glory of God and to encourage people to behave well.</p>
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<article id="post-11843" class="post-11843 post type-post status-publish format-standard hentry category-1920s category-architecture category-art-deco category-ceramics category-design category-folk-art category-textiles tag-art-deco tag-margherita-sarfatti tag-marinetti tag-paris-expo">
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<h1 class="entry-title"><a href="https://marshallcolman.wordpress.com/2026/02/20/art-deco-italy-at-paris-1925/" rel="bookmark">ART DECO: ITALY AT PARIS, 1925</a></h1> </header><!-- .entry-header -->
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<h3 class="wp-block-heading has-text-align-center">WHO CONTROLS ART IN ITALY?</h3>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-2 wp-block-paragraph">Margherita Sarfatti.</p>
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<p class="has-drop-cap wp-block-paragraph" style="line-height:2">The Exhibition of Modern Decorative and Industrial Art in Paris in 1925 (the Paris Expo) gave its name to the Art Deco style that was presented there for the first time on a large scale. Not all of the applied arts of the ‘twenties were in that style, in fact much was not, and even at the Paris Expo it was the French exhibits that exemplified it most, and many of the exhibits from other countries may not be recognisable as Art Deco at all. <a href="https://marshallcolman.wordpress.com/2026/01/08/art-deco-poland-at-paris/">I wrote about the Polish exhibits</a>, which constructed a Polish national identity out of a modern interpretation of folk themes. Now I want to say something about the Italians at Paris, who struggled to reconcile modernity with the enthusiasm for the past that was being encouraged by the Fascist regime.</p>
<p class="wp-block-paragraph" style="line-height:2">Like Poland, Italy was undergoing a national revival. Lands previously under Austrian rule had been brought under Italian control and the government was trying to shape a culture out of myths of the country’s past while at the same time modernising it. When it came to deciding how to present itself at the Paris Expo, there was uncertainty about it whether it should stress tradition or modernity. The lack of a coherent artistic programme, the Fascists’ preoccupation with ancient Rome, and political interference in the exhibition resulted in an inconsistent display, a mix of artistic radicalism and artisan products in a pavilion that was neither original nor modern.</p>
<p class="wp-block-paragraph" style="line-height:2">The chief commissioner – the nominal director of the Italian exhibit – was Teofilo Rossi, a veteran politician who was currently Italian ambassador to France and who could be relied upon as a safe pair of hands. Although his background was liberal, he was loyal to the regime and his committee was made up of similar establishment figures. But outside the committee were two forceful and opinionated individuals who were determined that the exhibit should be organised in their way: Filippo Tommaso Marinetti and Margherita Sarfatti.</p>
<p class="wp-block-paragraph" style="line-height:2">Marinetti was the leader of the Futurists, Sarfatti a journalist and cultural impresario who was the leader of <em>Novecento Italiano, </em>a group of artists who looked to the Cinquecento for their inspiration but who made art that was unmistakably of the 20th century. Both had the ear of Mussolini. Sarfatti wrote for his paper, <em>Il Popolo d’Italia</em>, was the editor of the Fascist journal <em>Gerarchia </em>and was his lover. Marinetti was one of the architects of Fascism and had long been an acquaintance of Mussolini’s.</p>
<p class="wp-block-paragraph" style="line-height:2">Futurism and Novecento were rivals. Sarfatti and Marinetti each wanted to shape a national Italian art, but Mussolini was not interested. Art bored him, and as long as artists didn’t oppose him he was willing to let them do more or less as they wished. Circumstances forced Marinetti and Sarfatti into an uneasy alliance and both saw opportunities in Paris.</p>
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<figure class="aligncenter size-large"><img data-attachment-id="11859" data-permalink="https://marshallcolman.wordpress.com/2026/02/20/art-deco-italy-at-paris-1925/funi-maternita/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/funi-maternita.jpg" data-orig-size="768,863" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="funi maternita" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/funi-maternita.jpg?w=500" loading="lazy" width="500" height="561" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/funi-maternita.jpg?w=500" alt="" class="wp-image-11859" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/funi-maternita.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/funi-maternita.jpg?w=133 133w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/funi-maternita.jpg?w=267 267w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/funi-maternita.jpg 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-3 wp-block-paragraph">Achille Funi, <em>Maternity.</em> A painting typical of <em>Novecento Italiano, </em>bought by Sarfatti.</p>
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<p class="wp-block-paragraph" style="line-height:2">Sarfatti played an important role in the administration of the Expo as a whole. She was vice-president of the international jury, president of the Italian jury and sat on three architectural juries. As a result of her efforts, she was later awarded the medal of the Legion d’Honneur, something she prized for the rest of her life. (She died in 1961.) Marinetti meddled furiously from the start, at first coming down hard on the first suggestion for chief commissioner, the well-respected and conservative art critic Ugo Ojetti. He, Depero and Balla wrote an article in <em>L’Ambrosiano</em>, the Futurist newspaper, saying, “We don’t want to be represented in Paris by an old man.” In fact, Ojetti was only five years older than Marinetti, but the point was that he was a traditionalist. “Marinetti advocates the complete exclusion of copies and imitations of the ancients from the Paris exhibition,” they wrote. “He severely criticises the pessimistic and backward-looking attitude of Ugo Ojetti and his attempt to devalue and discourage artists who courageously wish to create an Italian decorative art that is modern, inventive, suited to new needs, new scientific discoveries and to new sensibilities.” Rossi and the other members of his committee, with the exception of the painter Ardengo Soffici, were all conventional in their views, but Rossi at least did not share the educated conservative tastes and unbending opinions of Ojetti.</p>
<p class="wp-block-paragraph" style="line-height:2">The Paris exhibit was important for the Fascists’ image abroad, coming as it did in the midst of the Matteotti crisis, which almost brought Mussolini down. It had to present their self-conception as a movement both revolutionary and respectful of the past. Sarfatti had somehow to reconcile these disparate aims. Her introduction to the Italian catalogue was entitled, <em>Modern Art and Tradition in Italy</em>. She boasted that Futurism had placed Italy at the forefront of the modern movement but she did not think the country should wholly abandon its artisan traditions and she believed that <em>Novecento Italiano </em>was best placed to be the art of Fascist Italy. Art should make use of its past just as the Renaissance had made use of antiquity, using it but not copying it. This ambivalence about modernity led to an Italian exhibit that was improvised and unfocussed, good in parts but with other parts that were dull and old-fashioned.</p>
<h3 class="wp-block-heading has-text-align-center">THE ROMAN AND THE FUTURISTS</h3>
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<figure class="aligncenter size-large"><img data-attachment-id="11893" data-permalink="https://marshallcolman.wordpress.com/2026/02/20/art-deco-italy-at-paris-1925/s-l1600-3/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/s-l1600.jpg" data-orig-size="1375,900" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="s-l1600" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/s-l1600.jpg?w=500" loading="lazy" width="500" height="327" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/s-l1600.jpg?w=500" alt="" class="wp-image-11893" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/s-l1600.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/s-l1600.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/s-l1600.jpg?w=150 150w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/s-l1600.jpg?w=300 300w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/s-l1600.jpg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-4 wp-block-paragraph" style="line-height:2">Brasini’s pavilion at Paris, a pastiche of the Arch of Constantine, contrasted with Robert Mallett-Stephens’ spare Pavilion of Tourism on the right.</p>
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<p class="has-drop-cap wp-block-paragraph" style="line-height:2">The clearest illustration of this ambivalence was the contrast between the Italian pavilion and the Futurist exhibit. The pavilion, designed by Armando Brasini, disdained modernity and was a bombastic pastiche of Roman architecture. It projected <em>romanità</em>, those qualities of imperial Rome that Sarfatti and Mussolini hoped would inspire modern Italians. The Futurist installations by Balla, Depero and Prampolini, by contrast, were challenging and radical: avant-garde theatre settings, abstract tapestries and ideas for a Futurist house in which everything would be turned upside down. What exactly did Italy want to project at Paris? The <em>casa futurista </em>or the classical revival?</p>
<p class="wp-block-paragraph" style="line-height:2">Brasini’s pavilion was disliked by international visitors. Frank Scarlett, a British architect, recalling the exhibition fifty years later, described it as a monument of illiterate classicism. It was criticised in Italy, particularly by the architecture students of Milan polytechnic, who were among the founders of Rationalism, the Italian modernist movement of the ‘twenties and ‘thirties. Federica Pirani, a modern Italian art historian, says that it was arguably the ugliest pavilion in the Expo. </p>
<p class="wp-block-paragraph" style="line-height:2">Given the emphasis on modernity and originality at Paris, it is surprising that a traditionalist like Brasini, an architect who specialised in the restoration of Roman monuments, was ever selected. It is not that there were no alternatives: designers working in a modern idiom might have done better, for example, Enrico del Debbio, Angiolo Mazzoni, Innocenzo Sabbatini or Enrico Prampolini. Prampolini designed a pavilion for the Turin exhibition in 1928 that, had it been erected in Paris, would have been more in keeping and would have enhanced Italy’s reputation. Rossi admitted that he had been instructed to choose Brasini. Sarfatti backed Brasini as the best architect for the Fascist transformation of Italy, and it is most likely that she told Mussolini to appoint him.</p>
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<figure class="aligncenter size-large"><img data-attachment-id="11896" data-permalink="https://marshallcolman.wordpress.com/2026/02/20/art-deco-italy-at-paris-1925/prampolini-torino-1928b/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/prampolini-torino-1928b.png" data-orig-size="576,435" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="prampolini torino 1928b" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/prampolini-torino-1928b.png?w=500" loading="lazy" width="500" height="377" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/prampolini-torino-1928b.png?w=500" alt="" class="wp-image-11896" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/prampolini-torino-1928b.png?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/prampolini-torino-1928b.png?w=150 150w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/prampolini-torino-1928b.png?w=300 300w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/prampolini-torino-1928b.png 576w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-5 wp-block-paragraph">Enrico Prampolini’s pavilion at the 1928 Turin exhibition.</p>
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<p class="wp-block-paragraph" style="line-height:2">Sarfatti did not think the pavilion was either ugly or backward-looking. She insisted that the stark power of its unadorned marble columns, as she put it, with their vigorous upward thrust, expressed the true spirit of modernity. But her views about architecture were somewhat uncertain and they changed. When she saw the modern buildings next to the Italian pavilion, doubts began to creep in. In articles she wrote for a home audience she expressed reservations about the Rationalist school but as the years went by she became reconciled to it. By the early 1930s she had become its champion and Brasini fell out of favour.</p>
<p class="wp-block-paragraph" style="line-height:2">Sarfatti secured Brasini for the Expo, Marinetti secured the Futurists. At first the selection committee didn’t want them at all. The Futurists asked for a pavilion of their own that would have an exhibition space, a café-cabaret, a bar and a reading room. They intended to create an integrated architecture where the decorative arts could be understood on their own terms and applied to what they called “the dynamism of everyday life”. Their demands were so far in excess of the space allocated to Italy, their ideas so far removed from those behind Brasini’s pavilion, and their exhibits so at odds with the regional artisanal products on display that their proposal could not be accepted. Marinetti, in typical manner, threatened Rossi: “We hope that Your Excellency will not force us to take controversial action in Italy and Paris.” This was no empty threat: at the opening ceremony of the Venice Biennale in 1924, from which the Futurists had been excluded, Marinetti shouted in the presence of the King, “Down with backward-looking Venice!”</p>
<p class="wp-block-paragraph" style="line-height:2">The deadlock was broken thanks to the intervention of Mussolini and the Futurists were given two rooms in the Grand Palais. The exhibitors there were Giacomo Balla, Fortunato Depero and Enrico Prampolini. Prampolini installed theatrical sets, Depero a Futurist room and Balla four large tapestries. Depero’s installation brought to Paris what had been begun in the <em>case futuristiche</em>, the Futurist houses that had been created in Milan, Rome, Bologna, Palermo and Depero’s alpine town of Rovereto.</p>
<p class="wp-block-paragraph" style="line-height:2">The ideas for the Futurist installation had developed from a 1915 manifesto by Balla and Depero, <em>The Futurist Reconstruction of the Universe</em>. Behind its grandiose title and bewildering talk of “a dynamic, simultaneous, plastic and noise-ist expression of the universal vibration” there was a serious proposal to create an immersive art, inspired by technology and machinery, without any distinction between the fine and the applied arts, in which every aspect of life was to be transformed. Futurism now extended into all creative fields, beyond painting and sculpture and into architecture, furniture, ceramics, glassware, mosaic, tapestry, fashion, photography, film, theatre and dance. <em>The Futurist Reconstruction</em> of the Universe was advertised at Paris by the colourful waistcoats, the <em>panciotti futuristici</em>, worn by the Futurists.</p>
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<figure class="aligncenter size-large"><img data-attachment-id="11862" data-permalink="https://marshallcolman.wordpress.com/2026/02/20/art-deco-italy-at-paris-1925/depero-marinetti-futurist-waiscoats-3/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/depero-marinetti-futurist-waiscoats-1.jpg" data-orig-size="939,1200" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="depero marinetti futurist waiscoats" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/depero-marinetti-futurist-waiscoats-1.jpg?w=500" loading="lazy" width="500" height="638" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/depero-marinetti-futurist-waiscoats-1.jpg?w=500" alt="" class="wp-image-11862" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/depero-marinetti-futurist-waiscoats-1.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/depero-marinetti-futurist-waiscoats-1.jpg?w=117 117w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/depero-marinetti-futurist-waiscoats-1.jpg?w=235 235w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/depero-marinetti-futurist-waiscoats-1.jpg?w=768 768w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/depero-marinetti-futurist-waiscoats-1.jpg 939w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-6 wp-block-paragraph">The Reconstruction of the Universe: Depero and Marinetti in their Futurist waistcoats.</p>
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<p class="wp-block-paragraph" style="line-height:2">Depero exhibited his <em>casa futurista</em> from Rovereto, an assemblage of tapestries, sculptures, furnishings, toys and architectural plans. The centrepiece, <em>Man Machines,</em> depicted robots with hammers, labelled “<em>Pour ouvrir des têtes passéistes</em>” (To open the heads of those stuck in the past). There were two large-scale tapestries: <em>Velocità Moderna </em>(Modern Speed) and <em>Serrada</em>, which treated textiles as a revolutionary art medium. But despite the Futurists’ stress on velocity, modernity and machinery these were artisanal products, hand-sewn by Depero’s wife Rosetta Amadori and their assistants.</p>
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<figure class="aligncenter size-large"><img data-attachment-id="11899" data-permalink="https://marshallcolman.wordpress.com/2026/02/20/art-deco-italy-at-paris-1925/depero-small/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/depero-small.jpg" data-orig-size="3347,2593" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="depero-small" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/depero-small.jpg?w=500" loading="lazy" width="500" height="387" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/depero-small.jpg?w=500" alt="" class="wp-image-11899" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/depero-small.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/depero-small.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/depero-small.jpg?w=150 150w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/depero-small.jpg?w=300 300w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/depero-small.jpg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-7 wp-block-paragraph">Depero’s installation at Paris, with his <em>Man Machines </em>on the right.</p>
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<p class="wp-block-paragraph" style="line-height:2">By 1925 Prampolini was a leading figure in European avant garde theatre. He created a “Magnetic Theatre” with “dynamic scenography” in which conventional narrative was replaced by light effects, abstract forms, the integration of technology into performance and “costumes making engine noises”. His Paris exhibit of designs for the Magnetic Theatre won the world grand prix for theatre.</p>
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<figure class="aligncenter size-large"><img data-attachment-id="11907" data-permalink="https://marshallcolman.wordpress.com/2026/02/20/art-deco-italy-at-paris-1925/milano-genio-futurista-di-giacomo-balla-ph-alessandro-vasari/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/milano-genio-futurista-di-giacomo-balla-ph-alessandro-vasari.jpg" data-orig-size="6000,4362" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Milano-Genio-Futurista-di-Giacomo-Balla-Ph-Alessandro-Vasari" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/milano-genio-futurista-di-giacomo-balla-ph-alessandro-vasari.jpg?w=500" loading="lazy" width="500" height="363" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/milano-genio-futurista-di-giacomo-balla-ph-alessandro-vasari.jpg?w=500" alt="" class="wp-image-11907" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/milano-genio-futurista-di-giacomo-balla-ph-alessandro-vasari.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/milano-genio-futurista-di-giacomo-balla-ph-alessandro-vasari.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/milano-genio-futurista-di-giacomo-balla-ph-alessandro-vasari.jpg?w=150 150w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/milano-genio-futurista-di-giacomo-balla-ph-alessandro-vasari.jpg?w=300 300w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/milano-genio-futurista-di-giacomo-balla-ph-alessandro-vasari.jpg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<figure class="aligncenter size-large"><img data-attachment-id="11903" data-permalink="https://marshallcolman.wordpress.com/2026/02/20/art-deco-italy-at-paris-1925/balla-tapestries-small/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/balla-tapestries-small.jpg" data-orig-size="2000,1630" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"1768282132","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1"}" data-image-title="balla &#8211; tapestries small" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/balla-tapestries-small.jpg?w=500" loading="lazy" width="500" height="407" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/balla-tapestries-small.jpg?w=500" alt="" class="wp-image-11903" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/balla-tapestries-small.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/balla-tapestries-small.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/balla-tapestries-small.jpg?w=150 150w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/balla-tapestries-small.jpg?w=300 300w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/balla-tapestries-small.jpg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-8 wp-block-paragraph">Above: Giacomo Balla, <em>Futurist Genius</em>. Below: His installation at Paris.</p>
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<p class="wp-block-paragraph" style="line-height:2">Balla exhibited four tapestries as he called them, though they were in fact paintings on tapestry canvas. There was a large central work, <em>Genio futurista </em>(Futurist Genius), which he regarded as his most important work to date. It has the brilliance, angularity and symmetry characteristic of Art Deco. At the centre is a vaguely human figure, which has been interpreted as a self-portrait, with a star-shaped head that was intended to evoke energy and forces that clash and harmonize. It expressed his belief that, by blending the mechanical with the mythical, a new world can be made. He had become involved in Theosophy, an interest of many Futurists, and wanted his exhibits at Paris to communicate occult ideas about vibrations and astral phenomena.</p>
<p class="wp-block-paragraph" style="line-height:2">Once their installations were seen at the Expo, some Italian establishment figures changed their minds about the Futurists. Vittorio Pica, secretary of the Venice Biennale, confessed, “The Futurists have saved Italy in Paris.” Needless to say, Marinetti never tired of repeating this. </p>
<p class="wp-block-paragraph" style="line-height:2">Futurism was one of the sources of Art Deco and the parallels between the Futurist exhibits and the cheerful mood of the Expo enabled Marinetti to claim that Futurism was the inspiration for all that was good there. Everything Marinetti says has to be taken with a pinch of salt and he was obviously exaggerating, but there were undoubtedly parallels, especially between the Deco style and Balla’s tapestries. Futurism’s stress on speed and energy is echoed in Art Deco’s dynamic compositions and streamlined shapes and the Futurists’ love of the machine chimes in with the Art Deco enthusiasm for materials like chrome, glass and concrete. Given these parallels, the struggle the Futurists had to get in to the Expo shows how far the Italian art establishment was from the spirit of the times.</p>
<p class="wp-block-paragraph" style="line-height:2">If we turn to textiles and ceramics in the Italian exhibit we can see a contrast between bold and innovative work and the more traditional exhibits.</p>
<h3 class="wp-block-heading has-text-align-center"> DECO STYLE AND PEASANT ART</h3>
<p class="has-drop-cap wp-block-paragraph" style="line-height:2">The textile exhibits ranged from adventurous and sumptuous fabrics to timid artisanal work. The authors of the <a href="https://bibliotheque.madparis.fr/node/content/nid/233783">Encyclopédie des Arts Décoratifs et Industriels Modernes</a> did not think very much of the Italian textiles. They missed the excitement they had experienced at the Turin and Monza exhibitions, where Italy had shown itself to be leading the post-war artistic revival, but at Paris they saw instead a depressing classicism that Depero’s brilliant tapestries were not enough to offset.</p>
<p class="wp-block-paragraph" style="line-height:2">One important difference between the French and Italian exhibits was that fashion featured strongly in the French exhibits, with Paul Poiret being a leading representative, whereas the Italians exhibited mainly textiles. The Italian fashion industry was not as developed as that in France and it was still based on small dressmaking workshops, but Italy had strong contenders in the field of textiles and it showed outstanding work at Paris. Two important exhibitors were Maria Monaci Gallenga and Rosa Menni Giolli.</p>
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<figure class="aligncenter size-large"><img data-attachment-id="11911" data-permalink="https://marshallcolman.wordpress.com/2026/02/20/art-deco-italy-at-paris-1925/gallengi-uffizi-2/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gallengi-uffizi-1.png" data-orig-size="849,1980" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="gallengi uffizi" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gallengi-uffizi-1.png?w=429" loading="lazy" width="429" height="1000" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gallengi-uffizi-1.png?w=429" alt="" class="wp-image-11911" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gallengi-uffizi-1.png?w=429 429w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gallengi-uffizi-1.png?w=64 64w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gallengi-uffizi-1.png?w=129 129w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gallengi-uffizi-1.png?w=768 768w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gallengi-uffizi-1.png 849w" sizes="auto, (max-width: 429px) 100vw, 429px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-9 wp-block-paragraph">Dress by Maria Monaci Gallenga in one of her printed fabrics.</p>
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<p class="wp-block-paragraph" style="line-height:2">Gallenga achieved international fame for her costume and textile designs. She had been born into a family of prominent intellectuals and had been educated in literature and art. Out of her interest in ancient and Renaissance Italian art developed experiments in the adaption of historic patterns to modern garments, designing and making textiles and costumes in a studio in Florence. She printed on heavy velvets which were then cut for the modern female figure, developing an innovative process using metallic pigments, of which she became a leading exponent. She developed a system of printing that approached the speed of industrial production, but insisted on quality of design and execution Her success came from the originality of her designs and her meticulous printing. Her textiles are closer in appearance to the Liberty Style than to Art Deco, but they were among Italy’s star exhibits at Paris.</p>
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<figure class="aligncenter size-large"><img data-attachment-id="11877" data-permalink="https://marshallcolman.wordpress.com/2026/02/20/art-deco-italy-at-paris-1925/scanned-by-scan2net-4/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/menni_giolli_rosa-3.jpg" data-orig-size="1180,1595" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"Scan2Net","camera":"","caption":"Scanned Document","created_timestamp":"1768883382","copyright":"This document is protected by copyright laws","focal_length":"0","iso":"0","shutter_speed":"0","title":"Scanned by Scan2Net","orientation":"1"}" data-image-title="Scanned by Scan2Net" data-image-description="" data-image-caption="<p>Scanned Document</p>
" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/menni_giolli_rosa-3.jpg?w=500" loading="lazy" width="500" height="675" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/menni_giolli_rosa-3.jpg?w=500" alt="" class="wp-image-11877" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/menni_giolli_rosa-3.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/menni_giolli_rosa-3.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/menni_giolli_rosa-3.jpg?w=111 111w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/menni_giolli_rosa-3.jpg?w=222 222w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/menni_giolli_rosa-3.jpg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-10 wp-block-paragraph">Rosa Menni Giolli, wearing one of her creations.</p>
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<p class="wp-block-paragraph" style="line-height:2">Giolli was born into a bourgeois Milanese family, studied at the art school in Brera and was a painter before she became a textile designer, when she founded an atelier she called <em>Le Stoffe della Rosa </em>(Rosa’s Textiles). “Everyone asks me why, instead of writing and painting, my art has taken this turn,” she said. “Some are surprised and think I have suffered some sudden derangement. But I am really the same as I always was and I get the same joy from each way of expressing my love of life.” Like Gallenga, she developed original techniques, in her case drawing on the methods of Japanese shibori, Indian bandanas and Javanese batik, and like Gallenga she produced luxury products in short runs. She cut her designs directly into wood blocks because she found printing from metal plates gave too mechanical a finish, but unlike her British contemporaries who were block-printing fabrics she did not position herself as a craftswoman, was not against machinery and worked with a manufacturer, Edoardo Mattoi. She had participated in the exhibitions at Pesaro and Monza but her presence at Paris was a major uplift for her career. She received a gold medal for her printed silks and silver for her fashion accessories. She went on to exhibit at the <em>Novecento Italiano </em>exhibition in 1926 and then at the Venice Biennale. There was high demand for her work from fashion houses and interior designers but unfortunately, few of her fabrics survive and their qualities are hard to discern from the black and white photos of the time.</p>
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<figure class="wp-block-image size-large"><img data-attachment-id="11885" data-permalink="https://marshallcolman.wordpress.com/2026/02/20/art-deco-italy-at-paris-1925/00001-scan_2026-01-20_04-34-31r/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/00001-scan_2026-01-20_04-34-31r.jpg" data-orig-size="1270,1784" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="00001-scan_2026-01-20_04-34-31r" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/00001-scan_2026-01-20_04-34-31r.jpg?w=500" loading="lazy" width="500" height="702" data-id="11885" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/00001-scan_2026-01-20_04-34-31r.jpg?w=500" alt="" class="wp-image-11885" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/00001-scan_2026-01-20_04-34-31r.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/00001-scan_2026-01-20_04-34-31r.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/00001-scan_2026-01-20_04-34-31r.jpg?w=107 107w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/00001-scan_2026-01-20_04-34-31r.jpg?w=214 214w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/00001-scan_2026-01-20_04-34-31r.jpg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<figure class="aligncenter size-large is-resized"><img data-attachment-id="11887" data-permalink="https://marshallcolman.wordpress.com/2026/02/20/art-deco-italy-at-paris-1925/rosa-menni-giolli/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/rosa-menni-giolli.jpg" data-orig-size="1237,799" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"1765937860","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="rosa menni giolli" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/rosa-menni-giolli.jpg?w=500" loading="lazy" width="500" height="322" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/rosa-menni-giolli.jpg?w=500" alt="" class="wp-image-11887" style="width:770px;height:auto" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/rosa-menni-giolli.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/rosa-menni-giolli.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/rosa-menni-giolli.jpg?w=150 150w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/rosa-menni-giolli.jpg?w=300 300w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/rosa-menni-giolli.jpg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-11 wp-block-paragraph" style="line-height:2">Top: Pyjamas in material printed by Giolli. <br />Bottom: Giolli’s fabrics displayed at the Paris Expo with sculptures by Adolfo Wildt.</p>
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<p class="wp-block-paragraph" style="line-height:2">After the Wall Street Crash she closed her workshop and turned to journalism. What marks her out from many other Italian exhibitors at Paris was that she was an active anti-fascist. She and her husband were arrested in the 1940s. She was released but he was transferred to the Mauthausen concentration camp, where he died. Their son was killed while trying to make contact with the partisans. After the liberation she was active in the Italian Socialist Party of Proletarian Unity. There is a biography, <em><a href="https://www.amazon.co.uk/Rosa-Menni-Giolli-1889-1975-limpegno/dp/8899270406">Le Arti e l’ Impegno </a></em>(Art and Commitment).</p>
<p class="wp-block-paragraph" style="line-height:2">In the 1920s Italian ceramics underwent a renaissance as increased prosperity gave consumers greater purchasing power. Manufacturers could afford to employ good designers and two notable companies, Società Ceramica Italiana (SIC) and Richard Ginori, appointed art directors who transformed their businesses. </p>
<p class="wp-block-paragraph" style="line-height:2">Richard Ginori’s .appointment of Gio Ponti as art director in 1923 led to an explosion of new ideas and created a new image for them. Their exhibits stood out in the Italian display.</p>
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<figure class="aligncenter size-large"><img data-attachment-id="11889" data-permalink="https://marshallcolman.wordpress.com/2026/02/20/art-deco-italy-at-paris-1925/gio-ponti-richard-ginori-monza/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gio-ponti-richard-ginori-1920s.jpg" data-orig-size="1024,1788" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"Portrait of Gio Ponti from the 1920s.","created_timestamp":"0","copyright":"Gio Ponti Archives","focal_length":"0","iso":"0","shutter_speed":"0","title":"Gio-Ponti-Richard-Ginori-Monza","orientation":"1"}" data-image-title="Gio-Ponti-Richard-Ginori-Monza" data-image-description="" data-image-caption="<p>Portrait of Gio Ponti from the 1920s.</p>
" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gio-ponti-richard-ginori-1920s.jpg?w=500" loading="lazy" width="500" height="873" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gio-ponti-richard-ginori-1920s.jpg?w=500" alt="" class="wp-image-11889" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gio-ponti-richard-ginori-1920s.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gio-ponti-richard-ginori-1920s.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gio-ponti-richard-ginori-1920s.jpg?w=86 86w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gio-ponti-richard-ginori-1920s.jpg?w=172 172w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gio-ponti-richard-ginori-1920s.jpg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-12 wp-block-paragraph">Gio Ponti in when he was art director of the Richard Ginori company.</p>
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<p class="wp-block-paragraph" style="line-height:2">Ponti reviewed the ceramic exhibits at the Expo in an essay in which he explained his design philosophy. He called the essay <em>Le ragioni dello stilo moderno</em> (Reasons for the Modern Style). Although his repertoire was rooted in tradition, he was essentially a modernist and he emphasised the functional logic of design. “Our environment is now stripped of decoration,” he said, “and today we are interested in techniques of manufacture and the adaptation of an object to its purpose.” It was use that determined the product and the product that determined the style. Modernity meant using the latest technology to make things for the market that would be part of daily life. But, as an Italian, Ponti was bound to discuss maiolica, that mainstay of Italian artistic pottery. Although Richard Ginori was a modern enterprise, Ponti’s decorations were applied by hand. This combination of artisanal methods with mass production still survives in the Italian ceramics industry. Ponti had expected to see more maiolica in Paris. Where, for example, was the maiolica of Arno, Pesaro, Faenza, Umbria, Lazio, Liguria and the Veneto, he asked? To Ponti’s list of exclusions we may add <a href="https://marshallcolman.wordpress.com/2016/05/24/ceramics-of-vietri-sul-mare-and-the-amalfi-coast/">the ceramics of Vietri</a>, which were just entering their exciting German Period.</p>
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<figure class="aligncenter size-large"><img data-attachment-id="11912" data-permalink="https://marshallcolman.wordpress.com/2026/02/20/art-deco-italy-at-paris-1925/gio-ponti-richard-ginori-monza-2/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gio-ponti-richard-ginori-monza_05-en.jpg" data-orig-size="1024,1055" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"Cista \u201cThe Triumph of love and death\u201d, 1926 (conceived), 1930 (executed), porcelain hand-painted with blue high-temperature glaze and gold, etched with an agate tip.","created_timestamp":"0","copyright":"Hasselblad H4D","focal_length":"0","iso":"0","shutter_speed":"0","title":"Gio-Ponti-Richard-Ginori-Monza","orientation":"1"}" data-image-title="Gio-Ponti-Richard-Ginori-Monza" data-image-description="" data-image-caption="<p>Cista “The Triumph of love and death”, 1926 (conceived), 1930 (executed), porcelain hand-painted with blue high-temperature glaze and gold, etched with an agate tip.</p>
" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gio-ponti-richard-ginori-monza_05-en.jpg?w=500" loading="lazy" width="500" height="515" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gio-ponti-richard-ginori-monza_05-en.jpg?w=500" alt="" class="wp-image-11912" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gio-ponti-richard-ginori-monza_05-en.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gio-ponti-richard-ginori-monza_05-en.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gio-ponti-richard-ginori-monza_05-en.jpg?w=146 146w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gio-ponti-richard-ginori-monza_05-en.jpg?w=291 291w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/gio-ponti-richard-ginori-monza_05-en.jpg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-13 wp-block-paragraph">Gio Ponti, <em>The Triumph of Love and Death, </em>designed for Richard Ginori. Hand-painted porcelain.</p>
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<p class="wp-block-paragraph" style="line-height:2">Ponti introduced new shapes that were simple in outline and referred to classical models. His surface decoration made contemporary interpretations of classical, Etruscan and Renaissance themes. Motifs were placed against geometric shapes, with curtains and lozenges and architectural features such as columns, pediments and obelisks, painted in purple, grey and green with gold outlines. He used the archetypes of the Poet, the Philosopher, Charity, Justice and others, angels, nymphs riders and gazelles. There were contemporary subjects as well – circuses, aeroplanes and sports.</p>
<p class="wp-block-paragraph" style="line-height:2">Other designers worked in a similar style, the closest to Ponti being Guido Andlovitz, who was appointed art director of Società Italia Ceramics at the same time, achieved comparable eminence and who was often regarded as his rival, but SIC did not exhibit at Paris.</p>
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<figure class="aligncenter size-large"><img data-attachment-id="11914" data-permalink="https://marshallcolman.wordpress.com/2026/02/20/art-deco-italy-at-paris-1925/chini/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/chini.jpg" data-orig-size="2401,2401" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="chini" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/chini.jpg?w=500" loading="lazy" width="500" height="500" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/chini.jpg?w=500" alt="" class="wp-image-11914" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/chini.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/chini.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/chini.jpg?w=150 150w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/chini.jpg?w=300 300w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/chini.jpg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-14 wp-block-paragraph">Galileo Chini. A vase made at about the time of the Paris Expo.</p>
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<p class="wp-block-paragraph" style="line-height:2">Two significant exhibits were those of Galileo Chini and the Cantagalli company, but neither was in the Deco style. Chini was active in several fields and ceramics was only one of his interests. He had developed his ideas in the early part of the century and had been a leading exponent of Liberty style, to which he still adhered. I have not been able to find any illustrations of what he showed at Paris but the vase illustrated above was made at roughly the same time.</p>
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<figure class="aligncenter size-large"><img data-attachment-id="11918" data-permalink="https://marshallcolman.wordpress.com/2026/02/20/art-deco-italy-at-paris-1925/cantagalli-small/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/cantagalli-small.jpg" data-orig-size="3346,2501" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="cantagalli-small" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/cantagalli-small.jpg?w=500" loading="lazy" width="500" height="373" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/cantagalli-small.jpg?w=500" alt="" class="wp-image-11918" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/cantagalli-small.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/cantagalli-small.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/cantagalli-small.jpg?w=150 150w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/cantagalli-small.jpg?w=300 300w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/cantagalli-small.jpg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-15 wp-block-paragraph">The Cantagalli display at Paris.</p>
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<p class="wp-block-paragraph" style="line-height:2">In the late 19th century, under the direction of Ulisse Cantagalli, Renaissance models came to dominate Cantagalli’s products. It was well-regarded by arts-and-crafts artists, including William Morgan and William Morris, both of whom met Ulisse. Cantagalli exhibited in all the major international exhibitions and maintained its high reputation. After Ulisse’s death in 1901 the business was carried on by his widow and children. Although they introduced some ceramics in the Liberty Style, Renaissance, Persian and Hispano-Moresque influences persisted and that was the kind of work they showed at Paris. In the 1930s, in response to the preferences of the regime, they shifted toward neoclassicism.</p>
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<figure class="aligncenter size-large"><img data-attachment-id="11879" data-permalink="https://marshallcolman.wordpress.com/2026/02/20/art-deco-italy-at-paris-1925/nonno-oriental-procession/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/nonno-oriental-procession.webp" data-orig-size="1024,590" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="nonno oriental procession" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/nonno-oriental-procession.webp?w=500" loading="lazy" width="500" height="288" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/nonno-oriental-procession.webp?w=500" alt="" class="wp-image-11879" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/nonno-oriental-procession.webp?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/nonno-oriental-procession.webp?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/nonno-oriental-procession.webp?w=150 150w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/nonno-oriental-procession.webp?w=300 300w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/nonno-oriental-procession.webp?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-16 wp-block-paragraph">Francesco Nonni, <em>Oriental Procession</em> (1925)</p>
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<p class="wp-block-paragraph" style="line-height:2">Francesco Nonni, an artist from Faenza, was closer to the Deco style. He began modelling at the factory of Pietro Melandri, who also exhibited at Paris. He made figures in 18th century dress (“<a href="https://marshallcolman.wordpress.com/2023/07/05/the-crinoline-lady/">crinoline ladies</a>”, that international design trope of the 1920s, but with his own take on them), pierrots, dancers and women and children from the local bourgeoisie. One of Nonni’s most noted works is his <em>Oriental Procession</em>, which he presented at Paris.</p>
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<figure class="aligncenter size-large"><img data-attachment-id="11882" data-permalink="https://marshallcolman.wordpress.com/2026/02/20/art-deco-italy-at-paris-1925/francesco-nonni-regia-scuola-ceramica/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/francesco-nonni-regia-scuola-ceramica.jpg" data-orig-size="1000,1000" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="francesco-nonni-regia-scuola-ceramica" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/francesco-nonni-regia-scuola-ceramica.jpg?w=500" loading="lazy" width="500" height="500" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/francesco-nonni-regia-scuola-ceramica.jpg?w=500" alt="" class="wp-image-11882" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/francesco-nonni-regia-scuola-ceramica.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/francesco-nonni-regia-scuola-ceramica.jpg 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/francesco-nonni-regia-scuola-ceramica.jpg?w=150 150w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/francesco-nonni-regia-scuola-ceramica.jpg?w=300 300w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/francesco-nonni-regia-scuola-ceramica.jpg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-17 wp-block-paragraph">One of Francesco Nonni’s crinoline ladies, similar to those he exhibited at Paris.</p>
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<p class="wp-block-paragraph" style="line-height:2">The Monza Biennale, the forerunner of the Milan Triennial, had in the years before Paris exhibited regional folk art. Sarfatti had mixed feelings about it, respecting its Italian qualities but questioning its lack of engagement with the present. When she took control of Monza in 1927 she removed it. But at the Paris Expo there were prominent displays of artisanal work that was neither modern nor original and certainly not Art Deco.</p>
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<figure class="aligncenter size-large"><img data-attachment-id="11921" data-permalink="https://marshallcolman.wordpress.com/2026/02/20/art-deco-italy-at-paris-1925/firenze/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/firenze.jpg" data-orig-size="2568,3337" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="firenze" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/firenze.jpg?w=500" loading="lazy" width="500" height="649" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/firenze.jpg?w=500" alt="" class="wp-image-11921" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/firenze.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/firenze.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/firenze.jpg?w=115 115w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/firenze.jpg?w=231 231w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/02/firenze.jpg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-18 wp-block-paragraph" style="line-height:2">A typical display of regional arts by the Industrial Benevolent Fund of Florence, including lace, and intarsia work but also Francesco Nonni’s <em>Oriental Procession.</em></p>
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<article id="post-11836" class="post-11836 post type-post status-publish format-standard hentry category-1920s category-painting tag-italy tag-margherita-sarfatti tag-mussolini tag-novecento-italiano tag-ubaldo-oppi">
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<h1 class="entry-title"><a href="https://marshallcolman.wordpress.com/2026/02/03/ubaldo-oppi/" rel="bookmark">UBALDO OPPI</a></h1> </header><!-- .entry-header -->
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-19 wp-block-paragraph">Ubaldo Oppi, <em>Landscape </em>(1924)</p>
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<p class="has-text-align-left has-drop-cap wp-block-paragraph" style="line-height:2"><br><br>There was a revival of representational painting after the First World War, expressing a feeling that the uprooting of tradition and the destruction of the fighting were somehow connected and that art and society needed to return to order. The art of the Return to Order was overlooked and ignored after the Second World War, when abstract expressionism was in the ascendant, and it was only noticed again in the 1980s. Part of the reason for its obscurity was that it flourished in Fascist Italy. Oppi was part of the pro-Fascist Novecento Italiano group, whose art looked back to the Renaissance yet was at the same time unmistakably of the 20th century. Novecento Italiano was promoted by Margherita Sarfatti, a journalist and cultural impresario, who had great influence in Italy on account of her being Mussolini’s lover. When the regime adopted race policies, Sarfatti, who was Jewish, left Italy and went into exile.</p>
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<a href="https://marshallcolman.wordpress.com/2026/02/03/ubaldo-oppi/" rel="bookmark"><time class="entry-date published" datetime="2026-02-03T10:43:13+00:00">3 February 2026</time><time class="updated" datetime="2026-02-03T10:48:41+00:00">3 February 2026</time></a>
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<h1 class="entry-title"><a href="https://marshallcolman.wordpress.com/2026/01/22/italys-artisan-cities/" rel="bookmark">ITALY’S ARTISAN CITIES</a></h1> </header><!-- .entry-header -->
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<figure class="aligncenter size-large"><img data-attachment-id="11813" data-permalink="https://marshallcolman.wordpress.com/2026/01/22/italys-artisan-cities/artisan/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/artisan.jpg" data-orig-size="680,454" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="ARTISAN" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/artisan.jpg?w=500" loading="lazy" width="500" height="333" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/artisan.jpg?w=500" alt="" class="wp-image-11813" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/artisan.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/artisan.jpg?w=150 150w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/artisan.jpg?w=300 300w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/artisan.jpg 680w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-drop-cap wp-block-paragraph" style="line-height:2">Travelling in Italy, I’ve always been fascinated by the vitality of small artisan and craft-based businesses in the centres of its cities, such as leatherwork, picture-frame making, bespoke tailoring and bookbinding. This is very different from the UK, where craftsmanship is economically and geographically marginal. Even small vehicle-repair workshops are located in Italian city centres. The difference between the two cultures is also expressed in the language. “Artigianato” can be translated as craft, but it lacks the aloof and arty-crafty connotation of the English word. </p>
<p class="wp-block-paragraph" style="line-height:2">So why is the Italian urban economy so different from the British? There are several reasons – cultural, economic, and regulatory. Italy experienced its industrial revolution later than Britain and artisan production lasted well into the 20th century. Italy has long tradition of craftsmanship – “artigianato” – tied to regional specialisations and family-run enterprises. Trades can be traces back to the Renaissance, with skills passed down through the generations. This heritage is celebrated as part of Italy’s national identity and prestige attaches to high-end products, such as Florentine leather, Murano glass or Venetian masks. Some command premium prices. These specialisations play into and are reinforced by regional loyalties in Italy and the deep attachment to “paese”, a word that connotes country, place and home. </p>
<p class="wp-block-paragraph" style="line-height:2">To take the example of ceramics. Artisan pottery in Italy is part of a long tradition with identifiable local styles in centres like Tuscany and Amalfi, each integrated into the local economy and all connected to local chambers of commerce. There is a biennial ceramics market in Faenza supported by the association of Italian ceramics cities, chambers of commerce, local government and the EU. In the UK, ceramics fairs are privately run with no subsidies and, with the exception of the Stoke on Trent ceramics bienniale, no local authority engagement. </p>
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<figure class="aligncenter size-large"><img data-attachment-id="11815" data-permalink="https://marshallcolman.wordpress.com/2026/01/22/italys-artisan-cities/c4fb9-cerarichegeminiani-3/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/c4fb9-cerarichegeminiani.jpg" data-orig-size="765,494" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="c4fb9-cerarichegeminiani" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/c4fb9-cerarichegeminiani.jpg?w=500" loading="lazy" width="500" height="322" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/c4fb9-cerarichegeminiani.jpg?w=500" alt="" class="wp-image-11815" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/c4fb9-cerarichegeminiani.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/c4fb9-cerarichegeminiani.jpg?w=150 150w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/c4fb9-cerarichegeminiani.jpg?w=300 300w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/c4fb9-cerarichegeminiani.jpg 765w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-20 wp-block-paragraph">Street sign, Faenza.</p>
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<p class="wp-block-paragraph" style="line-height:2">Italian historic city centres resist commercial development with strong urban planning and heritage policies that preserve mixed-uses and a pedestrian-friendly character. There are strict regulations on building aesthetics. In the UK, aesthetics is not a planning consideration: it’s not possible to refuse planning permission merely because a building is ugly. </p>
<p class="wp-block-paragraph" style="line-height:2">Italian municipalities often cap local taxes or provide incentives for small businesses, nurturing variety and preventing homogenization. There have been recent measures to establish registers and protection for historical workshops, shielding them from rent pressures and supporting continuity through generational transfers or conciliatory rent agreements. In contrast, UK city centres tend to be dominated by big companies, whose high profits drive up rents, making accommodation unaffordable for businesses with narrow margins. </p>
<p class="wp-block-paragraph" style="line-height:2">Tourism also helps: millions visit historic centres, where craftsmanship is part of the attraction. Artisanal businesses are helped by the “slow” movement gaining traction in Italy. Starting with slow food – itself artisanal in conception – it’s encouraged Italians to value proximity to small producers, tradition and high-quality materials. </p>
<p class="wp-block-paragraph" style="line-height:2">Challenges exist. Artisans age and children don’t always want to continue the family business. Low profits and commercial pressures may not appeal. Higher education and more sophisticated ways of living may be more attractive. But Italian city centres retain a lively ecosystem of craft businesses that has largely faded from the UK.</p>
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<a href="https://marshallcolman.wordpress.com/2026/01/22/italys-artisan-cities/" rel="bookmark"><time class="entry-date published updated" datetime="2026-01-22T10:55:47+00:00">22 January 2026</time></a>
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<article id="post-11714" class="post-11714 post type-post status-publish format-standard hentry category-1920s category-architecture category-art-deco category-arts-and-crafts-movement category-design category-folk-art category-modernism category-sculpture tag-folk-art tag-krakow tag-paris-expo tag-poland tag-zakopane">
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<h1 class="entry-title"><a href="https://marshallcolman.wordpress.com/2026/01/08/art-deco-poland-at-paris/" rel="bookmark">ART DECO: POLAND AT PARIS</a></h1> </header><!-- .entry-header -->
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<figure class="aligncenter size-large"><img data-attachment-id="11718" data-permalink="https://marshallcolman.wordpress.com/2026/01/08/art-deco-poland-at-paris/542756377_1206117134888625_1960520893970938500_n/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/542756377_1206117134888625_1960520893970938500_n.jpg" data-orig-size="1007,1500" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="542756377_1206117134888625_1960520893970938500_n" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/542756377_1206117134888625_1960520893970938500_n.jpg?w=500" loading="lazy" width="500" height="744" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/542756377_1206117134888625_1960520893970938500_n.jpg?w=500" alt="" class="wp-image-11718" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/542756377_1206117134888625_1960520893970938500_n.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/542756377_1206117134888625_1960520893970938500_n.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/542756377_1206117134888625_1960520893970938500_n.jpg?w=101 101w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/542756377_1206117134888625_1960520893970938500_n.jpg?w=201 201w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/542756377_1206117134888625_1960520893970938500_n.jpg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-21 wp-block-paragraph"><em>Zofia Stryjeńska’s poster for the Polish exhibit at the Paris Expo.</em></p>
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<p class="has-drop-cap wp-block-paragraph" style="line-height:2">Soon we will be visiting the Museum of Decorative Art (MAD) and the City of Architecture in Paris for their celebrations of the International Exhibition of Modern Decorative and Industrial Arts in 1925. The show that popularized the Art Deco style might be said to be one of the most significant exhibitions of the 20th century.</p>
<figure data-carousel-extra='{"blog_id":96054732,"permalink":"https://marshallcolman.wordpress.com/2026/01/08/art-deco-poland-at-paris/"}' class="wp-block-gallery aligncenter has-nested-images columns-default is-cropped wp-block-gallery-2 is-layout-flex wp-block-gallery-is-layout-flex">
<figure class="wp-block-image size-large"><img data-attachment-id="11721" data-permalink="https://marshallcolman.wordpress.com/2026/01/08/art-deco-poland-at-paris/paris_1925_59878912/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/paris_1925_59878912.jpg" data-orig-size="1354,1889" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Paris_1925_59878912" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/paris_1925_59878912.jpg?w=500" loading="lazy" width="500" height="697" data-id="11721" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/paris_1925_59878912.jpg?w=500" alt="" class="wp-image-11721" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/paris_1925_59878912.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/paris_1925_59878912.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/paris_1925_59878912.jpg?w=108 108w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/paris_1925_59878912.jpg?w=215 215w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/paris_1925_59878912.jpg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
<figure class="wp-block-image size-large"><img data-attachment-id="11725" data-permalink="https://marshallcolman.wordpress.com/2026/01/08/art-deco-poland-at-paris/3_1_0_5_756_6_1_121174-2/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/3_1_0_5_756_6_1_121174-1.jpg" data-orig-size="813,1105" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1"}" data-image-title="3_1_0_5_756_6_1_121174" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/3_1_0_5_756_6_1_121174-1.jpg?w=500" loading="lazy" width="500" height="679" data-id="11725" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/3_1_0_5_756_6_1_121174-1.jpg?w=500" alt="" class="wp-image-11725" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/3_1_0_5_756_6_1_121174-1.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/3_1_0_5_756_6_1_121174-1.jpg?w=110 110w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/3_1_0_5_756_6_1_121174-1.jpg?w=221 221w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/3_1_0_5_756_6_1_121174-1.jpg?w=768 768w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/3_1_0_5_756_6_1_121174-1.jpg 813w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-22 wp-block-paragraph"><em>The Polish Pavilion at Paris, by day and by night.</em></p>
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<p class="wp-block-paragraph" style="line-height:2">The style was christened “Art Deco” only in the 1960s. Its modernity, geometry and colour were perhaps better described by its previous name, jazz-modern, but as the exhibits at Paris were so varied, it’s actually difficult to say what their essential appearance was. What, for example, does Henryk Kuna’s sinuous sculpture <em>Rhythm </em>(<em>below</em>) have in common with Prampolini’s aggressively angular Futurist theatre sets? If Art Deco existed at all, it was more than a style, it was the bright, urban, fast-moving spirit of the age, associated with cars, planes and luxury. It had no pretensions to democracy. Its elitism was evident in Ruhlmann’s extravagant <em>Hôtel d’un Riche Collectionnier.</em></p>
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<figure class="aligncenter size-large"><img data-attachment-id="11726" data-permalink="https://marshallcolman.wordpress.com/2026/01/08/art-deco-poland-at-paris/polish_pavilion_in_paris_1925_courtyarda/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/polish_pavilion_in_paris_1925_courtyarda.jpg" data-orig-size="898,1335" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1"}" data-image-title="Polish_pavilion_in_Paris_1925_courtyarda" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/polish_pavilion_in_paris_1925_courtyarda.jpg?w=500" loading="lazy" width="500" height="743" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/polish_pavilion_in_paris_1925_courtyarda.jpg?w=500" alt="" class="wp-image-11726" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/polish_pavilion_in_paris_1925_courtyarda.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/polish_pavilion_in_paris_1925_courtyarda.jpg?w=101 101w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/polish_pavilion_in_paris_1925_courtyarda.jpg?w=202 202w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/polish_pavilion_in_paris_1925_courtyarda.jpg?w=768 768w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/polish_pavilion_in_paris_1925_courtyarda.jpg 898w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-23 wp-block-paragraph"><em>Henryk Kuna, “Rhythm”, at the front of the Polish pavilion.</em></p>
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<p class="wp-block-paragraph" style="line-height:2">Because two-thirds of the space at Paris was taken up by French exhibitors, France defined the style. But it wasn’t just a matter of numerical dominance, it was also the fact that Paris was the engine of modern art, and French artists inspired the decorative arts to good effect. Another factor in French superiority may have been France’s long history of state subsidy of the arts.</p>
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<figure class="wp-block-image size-large"><img data-attachment-id="11729" data-permalink="https://marshallcolman.wordpress.com/2026/01/08/art-deco-poland-at-paris/1wojciech-jastrzebowski-1113x1536/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/1wojciech-jastrzebowski-1113x1536-1.jpg" data-orig-size="1113,1536" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1"}" data-image-title="1wojciech-jastrzebowski-1113&#215;1536" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/1wojciech-jastrzebowski-1113x1536-1.jpg?w=500" loading="lazy" width="500" height="690" data-id="11729" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/1wojciech-jastrzebowski-1113x1536-1.jpg?w=500" alt="" class="wp-image-11729" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/1wojciech-jastrzebowski-1113x1536-1.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/1wojciech-jastrzebowski-1113x1536-1.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/1wojciech-jastrzebowski-1113x1536-1.jpg?w=109 109w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/1wojciech-jastrzebowski-1113x1536-1.jpg?w=217 217w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/1wojciech-jastrzebowski-1113x1536-1.jpg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
<figure class="wp-block-image size-large"><img data-attachment-id="11731" data-permalink="https://marshallcolman.wordpress.com/2026/01/08/art-deco-poland-at-paris/nac_stryjenska/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/nac_stryjenska.jpg" data-orig-size="1024,1260" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="nac_stryjenska" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/nac_stryjenska.jpg?w=500" loading="lazy" width="500" height="615" data-id="11731" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/nac_stryjenska.jpg?w=500" alt="" class="wp-image-11731" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/nac_stryjenska.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/nac_stryjenska.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/nac_stryjenska.jpg?w=122 122w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/nac_stryjenska.jpg?w=244 244w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/nac_stryjenska.jpg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
<figure class="wp-block-image size-large"><img data-attachment-id="11733" data-permalink="https://marshallcolman.wordpress.com/2026/01/08/art-deco-poland-at-paris/jan-szczepkowski-razem-z-zona-maria-fd9c6550ca73e79a3e2200442218d6ef/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/jan-szczepkowski-razem-z-zona-maria-fd9c6550ca73e79a3e2200442218d6ef.jpg" data-orig-size="1080,1400" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1"}" data-image-title="Jan Szczepkowski razem z żoną Marią-fd9c6550ca73e79a3e2200442218d6ef" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/jan-szczepkowski-razem-z-zona-maria-fd9c6550ca73e79a3e2200442218d6ef.jpg?w=500" loading="lazy" width="500" height="648" data-id="11733" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/jan-szczepkowski-razem-z-zona-maria-fd9c6550ca73e79a3e2200442218d6ef.jpg?w=500" alt="" class="wp-image-11733" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/jan-szczepkowski-razem-z-zona-maria-fd9c6550ca73e79a3e2200442218d6ef.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/jan-szczepkowski-razem-z-zona-maria-fd9c6550ca73e79a3e2200442218d6ef.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/jan-szczepkowski-razem-z-zona-maria-fd9c6550ca73e79a3e2200442218d6ef.jpg?w=116 116w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/jan-szczepkowski-razem-z-zona-maria-fd9c6550ca73e79a3e2200442218d6ef.jpg?w=231 231w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/jan-szczepkowski-razem-z-zona-maria-fd9c6550ca73e79a3e2200442218d6ef.jpg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-24 wp-block-paragraph"><em>Major contributors: Wojciech Jastrzebowski, Zofia Stryjeńska and Jan Szczepkowski.</em></p>
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<p class="wp-block-paragraph" style="line-height:2">Since the name Art Deco came into use, the presentation of the applied arts of the ‘twenties has been selective, but there’s a large hinterland of good and interesting design from the Paris Expo that may not be recognisable as Art Deco at all. Just now I want to show something of the Polish exhibits, which constructed a Polish national identity rooted in folk traditions. Later I hope to say something about the Italians at Paris, who struggled to reconcile modernity with the fascist turn to classical Rome.</p>
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<figure class="aligncenter size-large"><img data-attachment-id="11738" data-permalink="https://marshallcolman.wordpress.com/2026/01/08/art-deco-poland-at-paris/3-sgraffita-w-atrium-pawilonu-polskiego-paris-1925-079-1174x1536-2/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/3-sgraffita-w-atrium-pawilonu-polskiego-paris-1925-079-1174x1536-2.jpg" data-orig-size="1019,1396" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1"}" data-image-title="3-sgraffita-w-atrium-pawilonu-polskiego-paris-1925-079-1174&#215;1536" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/3-sgraffita-w-atrium-pawilonu-polskiego-paris-1925-079-1174x1536-2.jpg?w=500" loading="lazy" width="500" height="684" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/3-sgraffita-w-atrium-pawilonu-polskiego-paris-1925-079-1174x1536-2.jpg?w=500" alt="" class="wp-image-11738" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/3-sgraffita-w-atrium-pawilonu-polskiego-paris-1925-079-1174x1536-2.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/3-sgraffita-w-atrium-pawilonu-polskiego-paris-1925-079-1174x1536-2.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/3-sgraffita-w-atrium-pawilonu-polskiego-paris-1925-079-1174x1536-2.jpg?w=109 109w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/3-sgraffita-w-atrium-pawilonu-polskiego-paris-1925-079-1174x1536-2.jpg?w=219 219w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/3-sgraffita-w-atrium-pawilonu-polskiego-paris-1925-079-1174x1536-2.jpg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-25 wp-block-paragraph"><em>Wojciech Jastrzebowski’s sgraffito wall decoration.</em></p>
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<p class="wp-block-paragraph" style="line-height:2">Poland had re-emerged as a country only a few years earlier. Under the Russian, Austrian and German occupation, vernacular arts had been promoted as an assertion of Polish cultural independence and the organiser of the Polish exhibit at Paris, Jerzy Warchalowski, selected artists who represented this tendency. Several had been associated with the Young Poland movement and the arts-and-crafts settlement at Zakopane and some were part of the Krakow Workshops, a co-operative of artists who drew on craft traditions. Krakow artists were well represented in Paris.</p>
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<figure class="aligncenter size-large"><img data-attachment-id="11744" data-permalink="https://marshallcolman.wordpress.com/2026/01/08/art-deco-poland-at-paris/ekspozycja-w-pawilonie-polskim-kopia-c17e278ad58046235fa3607a830d0e9c/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/ekspozycja-w-pawilonie-polskim.-kopia-c17e278ad58046235fa3607a830d0e9c.jpg" data-orig-size="1786,1296" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"1604342144","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"0"}" data-image-title="Ekspozycja w pawilonie polskim. kopia-c17e278ad58046235fa3607a830d0e9c" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/ekspozycja-w-pawilonie-polskim.-kopia-c17e278ad58046235fa3607a830d0e9c.jpg?w=500" loading="lazy" width="500" height="362" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/ekspozycja-w-pawilonie-polskim.-kopia-c17e278ad58046235fa3607a830d0e9c.jpg?w=500" alt="" class="wp-image-11744" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/ekspozycja-w-pawilonie-polskim.-kopia-c17e278ad58046235fa3607a830d0e9c.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/ekspozycja-w-pawilonie-polskim.-kopia-c17e278ad58046235fa3607a830d0e9c.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/ekspozycja-w-pawilonie-polskim.-kopia-c17e278ad58046235fa3607a830d0e9c.jpg?w=150 150w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/ekspozycja-w-pawilonie-polskim.-kopia-c17e278ad58046235fa3607a830d0e9c.jpg?w=300 300w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/ekspozycja-w-pawilonie-polskim.-kopia-c17e278ad58046235fa3607a830d0e9c.jpg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-26 wp-block-paragraph"><em>A room setting in the Polish pavilion.</em></p>
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<p class="wp-block-paragraph" style="line-height:2">The Polish exhibit was very highly regarded. Recalling his involvement in the Paris Expo fifty years later, the British architect Frank Scarlett <a href="https://www.abebooks.co.uk/Arts-Decoratifs-1925-Personal-Recollections-Paris/32327447101/bd">said </a>that in his opinion it was the most inspiring display there. Many artists received awards, including Józef Czajkowski, Henryk Kuna, Zofia Stryjeńska, Wojciech Jastrzebowski and the Krakow Workshops.</p>
<p class="wp-block-paragraph" style="line-height:2">Czajkowski’s pavilion was in keeping with the festive Expo mood, but with references to old Polish houses and medieval churches. He wanted to represent his country with something modern yet authentically Polish. The pavilion’s crystal tower which was beautifully illuminated at night was especially noted. <a href="https://www.whitemad.pl/en/a-page-from-history-polish-design-at-the-1925-paris-exhibition/">A contemporary Polish journalist gushed</a>, “Here stands before us an immaculate white palace, a lightweight marshmallow wonder, astonishing in its harmony and its shapely classicism. The crystalline wonder conveys the impression of a wonderful country church.”</p>
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<figure class="aligncenter size-large"><img data-attachment-id="11740" data-permalink="https://marshallcolman.wordpress.com/2026/01/08/art-deco-poland-at-paris/zs-duzy-stryjenska-7771991/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/zs-duzy-stryjenska-7771991.jpg" data-orig-size="1600,1014" data-comments-opened="1" data-image-meta="{"aperture":"5","credit":"","camera":"Canon EOS-1Ds Mark II","caption":"","created_timestamp":"1194862348","copyright":"","focal_length":"50","iso":"0","shutter_speed":"0.008","title":"","orientation":"0"}" data-image-title="zs-duzy-stryjenska-7771991" data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/zs-duzy-stryjenska-7771991.jpg?w=500" loading="lazy" width="500" height="316" src="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/zs-duzy-stryjenska-7771991.jpg?w=500" alt="" class="wp-image-11740" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/zs-duzy-stryjenska-7771991.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/zs-duzy-stryjenska-7771991.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/zs-duzy-stryjenska-7771991.jpg?w=150 150w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/zs-duzy-stryjenska-7771991.jpg?w=300 300w, https://marshallcolman.wordpress.com/wp-content/uploads/2026/01/zs-duzy-stryjenska-7771991.jpg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-27 wp-block-paragraph"><em>One of Zofia Stryjenska’s paintings of the seasons</em>.</p>
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<p class="wp-block-paragraph" style="line-height:2">In front of the pavilion stood Kuna’s archetypal lissom female form. Its walls were decorated in sgraffito by Wojciech Jastrzebowski, one of the founders of the Krakow Workshops.</p>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-28 wp-block-paragraph"><em>A toy made by Zofia Stryjensksa in the Krakow Workshops.</em></p>
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<p class="wp-block-paragraph" style="line-height:2">Among the most praised exhibits were the striking murals and tapestries of Zofia Stryjenska, a popular artist of the period who was also associated with the Krakow Workshops. She had lived for a time at Zakopane and had developed a modern style out of folkloristic elements. She and Jastrzebowski also exhibited amusing toys.</p>
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<p class="has-text-align-center has-light-gray-color has-text-color has-link-color wp-elements-29 wp-block-paragraph"><em>Jan Szczepkowski’s Nativity Shrine</em></p>
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<p class="wp-block-paragraph" style="line-height:2">Modern room settings also had folkloristic elements, but the interior that was particularly admired was Jan Szczepkowski’s Nativity Shrine, which was purchased by a church at Dourges, where it remains today.</p>
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<a href="https://marshallcolman.wordpress.com/2026/01/08/art-deco-poland-at-paris/" rel="bookmark"><time class="entry-date published" datetime="2026-01-08T07:39:31+00:00">8 January 2026</time><time class="updated" datetime="2026-01-08T08:01:53+00:00">8 January 2026</time></a>
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<h1 class="entry-title"><a href="https://marshallcolman.wordpress.com/2025/12/17/someone-elses-music/" rel="bookmark">SOMEONE ELSE’S MUSIC</a></h1> </header><!-- .entry-header -->
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<p class="wp-block-paragraph">It’s not about the visual arts but much of what Alexandra Wilson’s book <em>Someone Else’s Music</em> says about opera, audiences, funding and the British over the last hundred years apples to all the arts. </p>
<p class="wp-block-paragraph">From the last third of the 20th century, opera has been increasingly accused of elitism, but she records a long history of working-class participation in opera. The title comes from Oscar Wilde, who like many people thought opera was something not quite British – foreign music, foreign language, foreign stars.<br><br>The diverse audiences have included an exclusive set as well as enthusiastic “galleryites”. Commercialised popular music has drawn attention away from opera. Utilitarian Thatcherites wanted to cut it. There’s an anti-intellectual streak in the British character that thinks it’s too clever. And some think that what all can’t have, none should have.<br><br>Wilson’s stories of popular participation in opera in the 1920s are wonderful to read. She proves beyond doubt that the accusations of elitism are based on prejuduce and muddle. Who’d have known that it’s elitist both to keep people out of opera AND to invite them in? The most important thing about opera its capacity to bring pleasure to absolutely anyone who is willing to receive it.<br><br>But what about the cost of the tickets? Well, those for the UEFA Cup Final in 2020 started at £250 and went up to £800 – more than tickets for Opera North and more even than Glyndebourne.</p>
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<a href="https://marshallcolman.wordpress.com/2025/12/17/someone-elses-music/" rel="bookmark"><time class="entry-date published" datetime="2025-12-17T08:11:32+00:00">17 December 2025</time><time class="updated" datetime="2026-01-05T13:52:23+00:00">5 January 2026</time></a>
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<article id="post-11671" class="post-11671 post type-post status-publish format-standard hentry category-painting tag-christies tag-copley-fielding tag-j-m-w-turner tag-john-ruskin">
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<h1 class="entry-title"><a href="https://marshallcolman.wordpress.com/2025/12/11/copley-fielding/" rel="bookmark">COPLEY FIELDING</a></h1> </header><!-- .entry-header -->
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<figure class="wp-block-image size-large"><img data-attachment-id="11670" data-permalink="https://marshallcolman.wordpress.com/2025/12/11/copley-fielding/2022_cks_21044_0088_000anthony_vandyke_copley_fielding_a_shipwreck_on_the_yorkshire_coast10253727536970155670165628/" data-orig-file="https://marshallcolman.wordpress.com/wp-content/uploads/2025/12/2022_cks_21044_0088_00028anthony_vandyke_copley_fielding_a_shipwreck_on_the_yorkshire_coast102537297e27536970155670165628.jpg" data-orig-size="2000,1201" data-comments-opened="1" data-image-meta="{"aperture":"0","credit":"","camera":"","caption":"","created_timestamp":"0","copyright":"","focal_length":"0","iso":"0","shutter_speed":"0","title":"","orientation":"1"}" data-image-title="2022_cks_21044_0088_000(anthony_vandyke_copley_fielding_a_shipwreck_on_the_yorkshire_coast102537)~27536970155670165628." data-image-description="" data-image-caption="" data-large-file="https://marshallcolman.wordpress.com/wp-content/uploads/2025/12/2022_cks_21044_0088_00028anthony_vandyke_copley_fielding_a_shipwreck_on_the_yorkshire_coast102537297e27536970155670165628.jpg?w=500" loading="lazy" width="500" height="300" src="https://marshallcolman.wordpress.com/wp-content/uploads/2025/12/2022_cks_21044_0088_00028anthony_vandyke_copley_fielding_a_shipwreck_on_the_yorkshire_coast102537297e27536970155670165628.jpg?w=500" alt="" class="wp-image-11670" srcset="https://marshallcolman.wordpress.com/wp-content/uploads/2025/12/2022_cks_21044_0088_00028anthony_vandyke_copley_fielding_a_shipwreck_on_the_yorkshire_coast102537297e27536970155670165628.jpg?w=500 500w, https://marshallcolman.wordpress.com/wp-content/uploads/2025/12/2022_cks_21044_0088_00028anthony_vandyke_copley_fielding_a_shipwreck_on_the_yorkshire_coast102537297e27536970155670165628.jpg?w=1000 1000w, https://marshallcolman.wordpress.com/wp-content/uploads/2025/12/2022_cks_21044_0088_00028anthony_vandyke_copley_fielding_a_shipwreck_on_the_yorkshire_coast102537297e27536970155670165628.jpg?w=150 150w, https://marshallcolman.wordpress.com/wp-content/uploads/2025/12/2022_cks_21044_0088_00028anthony_vandyke_copley_fielding_a_shipwreck_on_the_yorkshire_coast102537297e27536970155670165628.jpg?w=300 300w, https://marshallcolman.wordpress.com/wp-content/uploads/2025/12/2022_cks_21044_0088_00028anthony_vandyke_copley_fielding_a_shipwreck_on_the_yorkshire_coast102537297e27536970155670165628.jpg?w=768 768w" sizes="auto, (max-width: 500px) 100vw, 500px" /></figure>
<p class="wp-block-paragraph">Reputations come and go, and it was surprising to find Copley Fielding (who is now far from well known) praised by Ruskin on almost equal terms with Turner.</p>
<blockquote class="wp-block-quote is-layout-flow wp-block-quote-is-layout-flow">
<p class="wp-block-paragraph">“Before passing to our great sea-painter, we must again refer to the works of Copley Fielding. It is with his sea as with his sky, he can only paint one, and that an easy one, but it is, for all that, an impressive and a true one. No man has ever given, with the same flashing freedom, the race of a running tide under a stiff breeze; nor caught, with the same grace and precision, the curvature of the breaking wave, arrested or accelerated by the wind. The forward fling of his foam, and the impatient run of his surges, whose quick redoubling dash we can almost hear as they break in their haste upon their own bosoms, are nature itself; and his sea grey or green was, nine years ago, very right as colour, always a little wanting in transparency, but never cold or toneless. Since that time, he seems to have lost the sense of greenness in water, and has verged more and more on the purple and black, with unhappy results. His sea was always dependent for effect on its light or dark relief against the sky, even when it possessed colour; but it now has lost local colour and transparency together, and is little more than a study of chiaroscuro.”</p>
</blockquote>
<p class="wp-block-paragraph">Anthony Vandyke Copley Fielding (1787 – 1855), usually known simply as Copley Fielding, was first an associate exhibitor in the Old Water-colour Society and eventually its president. (It was later the Royal Society of Watercolours).</p>
<p class="wp-block-paragraph">The picture above of a shipwreck on the Yorkshire coast (1831) was sold at Christies for £7,560 in 1922.</p>
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<li><a href='https://marshallcolman.wordpress.com/2019/12/'>December 2019</a></li>
<li><a href='https://marshallcolman.wordpress.com/2019/11/'>November 2019</a></li>
<li><a href='https://marshallcolman.wordpress.com/2019/10/'>October 2019</a></li>
<li><a href='https://marshallcolman.wordpress.com/2019/09/'>September 2019</a></li>
<li><a href='https://marshallcolman.wordpress.com/2019/07/'>July 2019</a></li>
<li><a href='https://marshallcolman.wordpress.com/2019/05/'>May 2019</a></li>
<li><a href='https://marshallcolman.wordpress.com/2019/04/'>April 2019</a></li>
<li><a href='https://marshallcolman.wordpress.com/2019/02/'>February 2019</a></li>
<li><a href='https://marshallcolman.wordpress.com/2019/01/'>January 2019</a></li>
<li><a href='https://marshallcolman.wordpress.com/2018/11/'>November 2018</a></li>
<li><a href='https://marshallcolman.wordpress.com/2018/10/'>October 2018</a></li>
<li><a href='https://marshallcolman.wordpress.com/2018/09/'>September 2018</a></li>
<li><a href='https://marshallcolman.wordpress.com/2018/08/'>August 2018</a></li>
<li><a href='https://marshallcolman.wordpress.com/2018/07/'>July 2018</a></li>
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<li><a href='https://marshallcolman.wordpress.com/2018/05/'>May 2018</a></li>
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<li><a href='https://marshallcolman.wordpress.com/2018/03/'>March 2018</a></li>
<li><a href='https://marshallcolman.wordpress.com/2018/02/'>February 2018</a></li>
<li><a href='https://marshallcolman.wordpress.com/2018/01/'>January 2018</a></li>
<li><a href='https://marshallcolman.wordpress.com/2017/12/'>December 2017</a></li>
<li><a href='https://marshallcolman.wordpress.com/2017/11/'>November 2017</a></li>
<li><a href='https://marshallcolman.wordpress.com/2017/10/'>October 2017</a></li>
<li><a href='https://marshallcolman.wordpress.com/2017/09/'>September 2017</a></li>
<li><a href='https://marshallcolman.wordpress.com/2017/08/'>August 2017</a></li>
<li><a href='https://marshallcolman.wordpress.com/2017/07/'>July 2017</a></li>
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<li><a href='https://marshallcolman.wordpress.com/2016/12/'>December 2016</a></li>
<li><a href='https://marshallcolman.wordpress.com/2016/11/'>November 2016</a></li>
<li><a href='https://marshallcolman.wordpress.com/2016/10/'>October 2016</a></li>
<li><a href='https://marshallcolman.wordpress.com/2016/09/'>September 2016</a></li>
<li><a href='https://marshallcolman.wordpress.com/2016/08/'>August 2016</a></li>
<li><a href='https://marshallcolman.wordpress.com/2016/07/'>July 2016</a></li>
<li><a href='https://marshallcolman.wordpress.com/2016/06/'>June 2016</a></li>
<li><a href='https://marshallcolman.wordpress.com/2016/05/'>May 2016</a></li>
<li><a href='https://marshallcolman.wordpress.com/2016/04/'>April 2016</a></li>
<li><a href='https://marshallcolman.wordpress.com/2016/03/'>March 2016</a></li>
<li><a href='https://marshallcolman.wordpress.com/2016/02/'>February 2016</a></li>
<li><a href='https://marshallcolman.wordpress.com/2016/01/'>January 2016</a></li>
<li><a href='https://marshallcolman.wordpress.com/2015/12/'>December 2015</a></li>
<li><a href='https://marshallcolman.wordpress.com/2015/11/'>November 2015</a></li>
<li><a href='https://marshallcolman.wordpress.com/2015/10/'>October 2015</a></li>
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<li><a href='https://marshallcolman.wordpress.com/2014/12/'>December 2014</a></li>
<li><a href='https://marshallcolman.wordpress.com/2014/11/'>November 2014</a></li>
<li><a href='https://marshallcolman.wordpress.com/2014/10/'>October 2014</a></li>
<li><a href='https://marshallcolman.wordpress.com/2014/09/'>September 2014</a></li>
<li><a href='https://marshallcolman.wordpress.com/2014/08/'>August 2014</a></li>
<li><a href='https://marshallcolman.wordpress.com/2014/07/'>July 2014</a></li>
<li><a href='https://marshallcolman.wordpress.com/2014/06/'>June 2014</a></li>
<li><a href='https://marshallcolman.wordpress.com/2014/05/'>May 2014</a></li>
<li><a href='https://marshallcolman.wordpress.com/2014/04/'>April 2014</a></li>
<li><a href='https://marshallcolman.wordpress.com/2014/03/'>March 2014</a></li>
<li><a href='https://marshallcolman.wordpress.com/2014/01/'>January 2014</a></li>
<li><a href='https://marshallcolman.wordpress.com/2013/12/'>December 2013</a></li>
<li><a href='https://marshallcolman.wordpress.com/2013/11/'>November 2013</a></li>
<li><a href='https://marshallcolman.wordpress.com/2013/10/'>October 2013</a></li>
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<li><a href='https://marshallcolman.wordpress.com/2013/08/'>August 2013</a></li>
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<li><a href='https://marshallcolman.wordpress.com/2013/04/'>April 2013</a></li>
<li><a href='https://marshallcolman.wordpress.com/2013/02/'>February 2013</a></li>
<li><a href='https://marshallcolman.wordpress.com/2012/12/'>December 2012</a></li>
<li><a href='https://marshallcolman.wordpress.com/2012/10/'>October 2012</a></li>
<li><a href='https://marshallcolman.wordpress.com/2012/09/'>September 2012</a></li>
<li><a href='https://marshallcolman.wordpress.com/2012/08/'>August 2012</a></li>
<li><a href='https://marshallcolman.wordpress.com/2012/07/'>July 2012</a></li>
<li><a href='https://marshallcolman.wordpress.com/2012/05/'>May 2012</a></li>
<li><a href='https://marshallcolman.wordpress.com/2012/04/'>April 2012</a></li>
<li><a href='https://marshallcolman.wordpress.com/2012/03/'>March 2012</a></li>
<li><a href='https://marshallcolman.wordpress.com/2012/02/'>February 2012</a></li>
<li><a href='https://marshallcolman.wordpress.com/2012/01/'>January 2012</a></li>
<li><a href='https://marshallcolman.wordpress.com/2011/12/'>December 2011</a></li>
<li><a href='https://marshallcolman.wordpress.com/2011/11/'>November 2011</a></li>
<li><a href='https://marshallcolman.wordpress.com/2011/10/'>October 2011</a></li>
<li><a href='https://marshallcolman.wordpress.com/2011/09/'>September 2011</a></li>
<li><a href='https://marshallcolman.wordpress.com/2011/04/'>April 2011</a></li>
<li><a href='https://marshallcolman.wordpress.com/2011/03/'>March 2011</a></li>
<li><a href='https://marshallcolman.wordpress.com/2011/02/'>February 2011</a></li>
<li><a href='https://marshallcolman.wordpress.com/2010/10/'>October 2010</a></li>
<li><a href='https://marshallcolman.wordpress.com/2010/06/'>June 2010</a></li>
<li><a href='https://marshallcolman.wordpress.com/2010/05/'>May 2010</a></li>
<li><a href='https://marshallcolman.wordpress.com/2010/03/'>March 2010</a></li>
<li><a href='https://marshallcolman.wordpress.com/2009/11/'>November 2009</a></li>
<li><a href='https://marshallcolman.wordpress.com/2009/10/'>October 2009</a></li>
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Sitemap
Кол-во: 0
XML-карта сайта для поисковиков
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Sitemap.xml помогает поисковику быстрее находить и индексировать страницы. Особенно важен для крупных сайтов и новых страниц, на которые ещё нет входящих ссылок.
Robots.txt не содержит ссылку на карту сайта. Рекомендуется добавить карту сайта и указать ссылку на нее в robots.txt.
Внутренние ссылки
Кол-во: 5
Ссылки на другие страницы своего сайта
?
Внутренние ссылки распределяют ссылочный вес между страницами и помогают поисковику обходить сайт. Пустые анкоры и ссылки на запрещённые robots.txt страницы — типичные ошибки.
Внутренних ссылок на странице 5 оптимально.
Внутренние ссылки не запрещены к индексации в robots.txt.
На странице присутствуют изображения 8.
Показать внутренние ссылки
| Url | Анкор | Состояние | Анализировать |
|---|---|---|---|
| / |
<svg class="gridicon" height="20" width="20" xmlns="http://www.w3.org/2000/svg" viewbox="0 0 20 20"><path clip-rule="evenodd" d="m4 4.5h12v6.5h1.5v-6.5-1.5h-1.5-12-1.5v1.5 10.5c0 1.1046.89543 2 2 2h7v-1.5h-7c-.27614 0-.5-.2239-.5-.5zm10.5 2h-9v1.5h9zm-5 3h-4v1.5h4zm3.5 1.5h-1v1h1zm-1-1.5h-1.5v1.5 1 1.5h1.5 1 1.5v-1.5-1-1.5h-1.5zm-2.5 2.5h-4v1.5h4zm6.5 1.25h1.5v2.25h2.25v1.5h-2.25v2.25h-1.5v-2.25h-2.25v-1.5h2.25z" fill-rule="evenodd"></path></svg>
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<svg class="gridicon" height="20" width="20" xmlns="http://www.w3.org/2000/svg" viewbox="0 0 20 20" fill="none"><path fill-rule="evenodd" clip-rule="evenodd" d="M16 4.5H4V15C4 15.2761 4.22386 15.5 4.5 15.5H11.5V17H4.5C3.39543 17 2.5 16.1046 2.5 15V3H17.5V12.5H16V4.5ZM5.5 6.5H14.5V8H5.5V6.5ZM5.5 9.5H9.5V11H5.5V9.5ZM12 11H13V12H12V11ZM10.5 9.5H14.5V13.5H10.5V9.5ZM5.5 12H9.5V13.5H5.5V12Z" fill="#008A20"></path><path d="M19.5303 15.0303L15.5 19.0605L12.9697 16.5303L14.0303 15.4697L15.5 16.9395L18.4697 13.9697L19.5303 15.0303Z" fill="#008A20"></path></svg>
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|
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<svg class="gridicon" height="20" width="20" xmlns="http://www.w3.org/2000/svg" viewbox="0 0 20 20"><path clip-rule="evenodd" d="m4 4.5h12v6.5h1.5v-6.5-1.5h-1.5-12-1.5v1.5 10.5c0 1.1046.89543 2 2 2h7v-1.5h-7c-.27614 0-.5-.2239-.5-.5zm10.5 2h-9v1.5h9zm-5 3h-4v1.5h4zm3.5 1.5h-1v1h1zm-1-1.5h-1.5v1.5 1 1.5h1.5 1 1.5v-1.5-1-1.5h-1.5zm-2.5 2.5h-4v1.5h4zm6.5 1.25h1.5v2.25h2.25v1.5h-2.25v2.25h-1.5v-2.25h-2.25v-1.5h2.25z" fill-rule="evenodd"></path></svg>
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<svg class="gridicon" height="20" width="20" xmlns="http://www.w3.org/2000/svg" viewbox="0 0 20 20" fill="none"><path fill-rule="evenodd" clip-rule="evenodd" d="M16 4.5H4V15C4 15.2761 4.22386 15.5 4.5 15.5H11.5V17H4.5C3.39543 17 2.5 16.1046 2.5 15V3H17.5V12.5H16V4.5ZM5.5 6.5H14.5V8H5.5V6.5ZM5.5 9.5H9.5V11H5.5V9.5ZM12 11H13V12H12V11ZM10.5 9.5H14.5V13.5H10.5V9.5ZM5.5 12H9.5V13.5H5.5V12Z" fill="#008A20"></path><path d="M19.5303 15.0303L15.5 19.0605L12.9697 16.5303L14.0303 15.4697L15.5 16.9395L18.4697 13.9697L19.5303 15.0303Z" fill="#008A20"></path></svg>
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Внешние ссылки
Кол-во: 393
Ссылки на сторонние сайты
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Исходящие внешние ссылки передают часть ссылочного веса на чужие сайты. Ссылки на авторитетные ресурсы безопасны; ссылки на мусорные сайты могут навредить репутации страницы.
Внешних ссылок на странице 393 слишком много. Спрячьте лишние ссылки в тег noindex или атрибут rel='nofollow'!
На странице ссылки с атрибутом rel='nofollow' 3.
Показать первые 100 внешних ссылок
| Url | Анкор | Анализировать |
|---|---|---|
| marshallcolman.wordpress.com |
<img referrerpolicy="no-referrer" alt='Unknown's avatar' src='https://0.gravatar.com/avatar/9397c6d2e286cff3df630acd567427a5a9672aff557ce81d2390a718419c18a9?s=80&d=https%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D80&r=G' srcset='https://0.gravatar.com/avatar/9397c6d2e286cff3df630acd567427a5a9672aff557ce81d2390a718419c18a9?s=80&d=https%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D80&r=G 1x, https://0.gravatar.com/avatar/9397c6d2e286cff3df630acd567427a5a9672aff557ce81d2390a718419c18a9?s=120&d=https%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D120&r=G 1.5x, https://0.gravatar.com/avatar/9397c6d2e286cff3df630acd567427a5a9672aff557ce81d2390a718419c18a9?s=160&d=https%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D160&r=G 2x, https://0.gravatar.com/avatar/9397c6d2e286cff3df630acd567427a5a9672aff557ce81d2390a718419c18a9?s=240&d=https%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D240&r=G 3x, https://0.gravatar.com/avatar/9397c6d2e286cff3df630acd567427a5a9672aff557ce81d2390a718419c18a9?s=320&d=https%3A%2F%2F0.gravatar.com%2Favatar%2Fad516503a11cd5ca435acc9bb6523536%3Fs%3D320&r=G 4x' class='avatar avatar-80 site-logo-image' height='80' width='80' loading='eager' decoding='async'>
|
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| marshallcolman.wordpress.com |
MARSHALL COLMAN
|
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| marshallcolman.wordpress.com |
ABOUT ME
|
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| marshallcolman.wordpress.com |
CERAMICS
|
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| marshallcolman.wordpress.com |
CONTACT
|
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| marshallcolman.wordpress.com |
DEPERO AND THE REBEL SISTERS
|
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| marshallcolman.wordpress.com |
Futurist Pavilion at Paris
|
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| facebook.com |
Sorelle Ribelli
|
|
| archivio-correr.visitmuve.it |
Fedrizzi Collection
|
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| marshallcolman.wordpress.com |
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| marshallcolman.wordpress.com |
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<span>X</span>
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| marshallcolman.wordpress.com |
<span id="sharing-facebook-12156" hidden="">Share on Facebook (Opens in new window)</span>
<span>Facebook</span>
|
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| marshallcolman.wordpress.com |
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<span>LinkedIn</span>
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| marshallcolman.wordpress.com |
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<span>Reddit</span>
|
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| marshallcolman.wordpress.com |
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<span>Pinterest</span>
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| marshallcolman.wordpress.com |
<span id="sharing-threads-12156" hidden="">Share on Threads (Opens in new window)</span>
<span>Threads</span>
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| marshallcolman.wordpress.com |
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<span>Bluesky</span>
|
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| marshallcolman.wordpress.com |
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<span>Tumblr</span>
|
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| marshallcolman.wordpress.com |
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<span>WhatsApp</span>
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| marshallcolman.wordpress.com |
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<span>X</span>
|
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| marshallcolman.wordpress.com |
Marshall Colman
|
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| marshallcolman.wordpress.com |
1920s
|
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| marshallcolman.wordpress.com |
design
|
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| marshallcolman.wordpress.com |
graphic art
|
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| marshallcolman.wordpress.com |
modernism
|
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| marshallcolman.wordpress.com |
uncategorized
|
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| marshallcolman.wordpress.com |
Leave a comment
|
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| marshallcolman.wordpress.com |
<time class="entry-date published" datetime="2026-08-21T10:45:24+00:00">21 August 2026</time><time class="updated" datetime="2026-08-21T10:51:28+00:00">21 August 2026</time>
|
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| marshallcolman.wordpress.com |
DOROTHY HEPWORTH
|
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| marshallcolman.wordpress.com |
Stanley Spencer
|
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| marshallcolman.wordpress.com |
<span id="sharing-print-12148" hidden="">Print (Opens in new window)</span>
<span>Print</span>
|
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| marshallcolman.wordpress.com |
<span id="sharing-twitter-12148" hidden="">Share on X (Opens in new window)</span>
<span>X</span>
|
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| marshallcolman.wordpress.com |
<span id="sharing-facebook-12148" hidden="">Share on Facebook (Opens in new window)</span>
<span>Facebook</span>
|
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| marshallcolman.wordpress.com |
<span id="sharing-linkedin-12148" hidden="">Share on LinkedIn (Opens in new window)</span>
<span>LinkedIn</span>
|
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| marshallcolman.wordpress.com |
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<span>Reddit</span>
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| marshallcolman.wordpress.com |
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<span>Pinterest</span>
|
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| marshallcolman.wordpress.com |
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<span>Threads</span>
|
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| marshallcolman.wordpress.com |
<span id="sharing-bluesky-12148" hidden="">Share on Bluesky (Opens in new window)</span>
<span>Bluesky</span>
|
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| marshallcolman.wordpress.com |
<span id="sharing-tumblr-12148" hidden="">Share on Tumblr (Opens in new window)</span>
<span>Tumblr</span>
|
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| marshallcolman.wordpress.com |
<span id="sharing-whatsapp-12148" hidden="">Share on WhatsApp (Opens in new window)</span>
<span>WhatsApp</span>
|
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| marshallcolman.wordpress.com |
<span id="sharing-x-12148" hidden="">Share on X (Opens in new window)</span>
<span>X</span>
|
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| marshallcolman.wordpress.com |
Marshall Colman
|
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| marshallcolman.wordpress.com |
uncategorized
|
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| marshallcolman.wordpress.com |
Leave a comment
|
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| marshallcolman.wordpress.com |
<time class="entry-date published" datetime="2026-08-17T18:31:43+00:00">17 August 2026</time><time class="updated" datetime="2026-08-17T18:32:05+00:00">17 August 2026</time>
|
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| marshallcolman.wordpress.com |
STANLEY SPENCER AND THE COMMISSARS
|
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| marshallcolman.wordpress.com |
Paula Rego
|
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| marshallcolman.wordpress.com |
Edward Burra
|
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| marshallcolman.wordpress.com |
moralising art criticism of the Victorian era
|
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| marshallcolman.wordpress.com |
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<span>Print</span>
|
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| marshallcolman.wordpress.com |
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<span>X</span>
|
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| marshallcolman.wordpress.com |
<span id="sharing-facebook-12083" hidden="">Share on Facebook (Opens in new window)</span>
<span>Facebook</span>
|
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| marshallcolman.wordpress.com |
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<span>LinkedIn</span>
|
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| marshallcolman.wordpress.com |
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<span>Reddit</span>
|
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| marshallcolman.wordpress.com |
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<span>Pinterest</span>
|
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| marshallcolman.wordpress.com |
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<span>Threads</span>
|
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| marshallcolman.wordpress.com |
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<span>Bluesky</span>
|
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| marshallcolman.wordpress.com |
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<span>Tumblr</span>
|
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| marshallcolman.wordpress.com |
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<span>WhatsApp</span>
|
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| marshallcolman.wordpress.com |
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<span>X</span>
|
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| marshallcolman.wordpress.com |
Marshall Colman
|
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| marshallcolman.wordpress.com |
1920s
|
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| marshallcolman.wordpress.com |
museums
|
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| marshallcolman.wordpress.com |
painting
|
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| marshallcolman.wordpress.com |
4 Comments
|
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| marshallcolman.wordpress.com |
<time class="entry-date published" datetime="2026-07-11T17:14:14+00:00">11 July 2026</time><time class="updated" datetime="2026-07-21T05:51:38+00:00">21 July 2026</time>
|
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| marshallcolman.wordpress.com |
RUSKIN’S CRITICS
|
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| en.wikipedia.org |
Lady Elizabeth Eastlake.
|
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| bbc.co.uk |
Turner: The Secret Sketchbooks
|
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| marshallcolman.wordpress.com |
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<span>Print</span>
|
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| marshallcolman.wordpress.com |
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<span>X</span>
|
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| marshallcolman.wordpress.com |
<span id="sharing-facebook-12017" hidden="">Share on Facebook (Opens in new window)</span>
<span>Facebook</span>
|
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| marshallcolman.wordpress.com |
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<span>LinkedIn</span>
|
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| marshallcolman.wordpress.com |
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<span>Reddit</span>
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| marshallcolman.wordpress.com |
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<span>Pinterest</span>
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| marshallcolman.wordpress.com |
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<span>Threads</span>
|
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| marshallcolman.wordpress.com |
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<span>Bluesky</span>
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| marshallcolman.wordpress.com |
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<span>Tumblr</span>
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| marshallcolman.wordpress.com |
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<span>WhatsApp</span>
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<time class="entry-date published" datetime="2026-06-04T17:34:33+00:00">4 June 2026</time><time class="updated" datetime="2026-06-14T12:11:28+00:00">14 June 2026</time>
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ART DECO: ITALY AT PARIS, 1925
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I wrote about the Polish exhibits
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Le Arti e l’ Impegno
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the ceramics of Vietri
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crinoline ladies
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