| Piero Fornasetti (1913-1988) was an
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| | illusionism and architectural per
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| Italian painter, sculptor, designer,
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| | spectives. He particularly liked the
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| craftsman, engraver, and compulsive
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| | juxtaposition of elaborate themes on
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| collector of printed ephemera. A
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| | ordinary objects and could find
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| precursor to pop-art and an exemplar of a
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| | inspiration in and add artistic
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| post-modernism which would not be named
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| | expression to an array of everyday items:
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| for decades hence. Prolific and unafraid
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| | hats, waistcoats, pipes, ashtrays,
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| of the utilitarian he created
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| | chairs, plates, cabinets, pianos, shops,
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| tens-of-thousands of objects in his
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| | cars and even ocean liners. Fornasetti
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| lifetime. Perhaps most recognized for his
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| | also used variations of the sun, playing
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| Themes and Variations series (which
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| | cards, fish and flowers as recurring
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| reworked a single image of opera singer
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| | themes in his pieces.
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| Lina Cavalieri he found in a 19th century
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| | Fornasetti played with vivid reds, blues
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| French magazine over 500 times) his works
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| | and yellows in his work, contrasting them
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| include porcelain and gold plates,
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| | with his black-and-white pieces. One
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| chairs, jars, tables, bureaus, teapots,
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| | popular theme involves several
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| umbrellas, lamps, screens, clothes, etc.
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| | black-and-white adaptations of a woman is
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| Evidently he once said of his work: "I
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| | face set against porcelain. In one
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| believe in neither periods nor dates. I
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| | sketch, clouds surround the woman is
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| refuse to define the value of an object
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| | face; in others, she is winking or her
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| in terms of its era."
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| | face is shrouded with a veil, leaving
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| During his career, Fornasetti established
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| | only her large, piercing eyes.
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| his own contemporary style based on
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