PDF Ebook Fortuny: His Life and Work
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Fortuny: His Life and Work
PDF Ebook Fortuny: His Life and Work
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Review
"Mariano Fortuny was a renaissance man of art and fashion. Get to know his life and work in this comprehensive monograph." -THE SOCIETY DIARIESFortuny is one of the most expansive, well-researched, lovingly written stories of a man and his legacy, both of which could easily be deemed genius. . . To say the book is illuminating and engrossing is gross understatement as few books of this genre have a subject who is this much of an artist, inventor, and createur. . . Fortuny is a book that truly stands alone due to its both visual and written contents; it is a book that must be read and not just browsed."-NY JOURNAL OF BOOKS"In his captivating prose, art historian de Osma invites readers to examine the sheer brilliance of one of the world’s most original designers. . . Mariano Fortuny continues to be a source of interest to designers and students, collectors and researchers, and historians and academics. His dresses are still timeless and proudly worn by women of great style. This comprehensive book shines the spotlight on all facets of Fortuny’s life and legacy, with archival and previously unpublished materials."-Marienela.net
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About the Author
Guillermo de Osma is an art historian, founder of the eponymous gallery in Madrid, and the world’s foremost specialist on Mariano Fortuny. He is also professor at Spain’s Instituto Superior de Moda and has written numerous articles and books.
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Product details
Hardcover: 340 pages
Publisher: Skira Rizzoli (February 16, 2016)
Language: English
ISBN-10: 0847848175
ISBN-13: 978-0847848171
Product Dimensions:
10 x 1.4 x 12.5 inches
Shipping Weight: 1.6 pounds (View shipping rates and policies)
Average Customer Review:
5.0 out of 5 stars
3 customer reviews
Amazon Best Sellers Rank:
#366,569 in Books (See Top 100 in Books)
Beautiful book covering the history and early work of Fortuy. Made an excellent gift for a friend in the interior design industry. But would be most appreciated by most anyone involved in fashion or the history of fashion. Stunning book. This was the best price and the fastest delivery time.
In depth look at an artist and his evolution
What to say about the genius of Fortuny? From the perspective of 2017 some of his soundest ideas seem dated and gimcracky, while others retain the dazzle that so impressed the soulful moderns of a hundred years ago. Yet even his silliest creations illuminate for us something about the age of modernism that the study of other artists obscures, and that might be his interest in science. Guillermo de Osma has "owned" Fortuny for forty years or more, and his first book on the topic was published in 1980. I'm sure many Fortuny fans still treasure their original de Osma biography, which added Fortuny's first name to the title—nowadays, I suppose he's one who doesn't need a first name any more—there is only one designer, and we call him Fortuny.As an American boy growing up in France, my mother used to take me to visit an elderly lady in a neighboring arrondissement, one who had fallen on hard times like the "Bachelors" of Henri de Montherlant's novel. And like those "bachelors," this lady still treasured a few outfits from days way in the past, and whenever ma mere and I would visit, there she would be, resplendent in a Fortuny Delphos gown. "Oh Marie-Louise," Mom used to say, "who did you get to do all those pleats?" The senior lady would smile and wave her hand as if to allude to a host of servants now dismissed, who had done such ironing. That was one of Fortuny's key inventions, of course, a system of treating silk so that permanent pleats could be embedded in it—unlike his contemporary Coco Chanel, who disdained science, and believed that women should be employed to iron such garments, all the time. The gown itself was a rich copper color, weighted down with an array of seed pearls that kept the garment' shape as it neared the floor. This old lady, nearing eighty I suppose at the time, had herself shrunken with age, yet she still looked magnificent, a tigress, like a French Lauren Bacall in a tall copper vase. "Remember her, Kevin," my mother would say, "for she is the spirit of France." Reading the new de Osma biography I was surprised to find out how much of his life was spent outside of France. In fact he was of the Catalan people of Spain, and spent much of his life in his studio in Venice (Italy.)De Osma prides himself on being the first modern biographer of the great Fortuny, and even if apres him, le deluge, he can always say, and he will always say, he was there ahead of everyone else. He started his research so long ago that you could pick up a Fortuny stage curtain in the thrift stores of Trullo or Corviale, and he could interview people like silent star Lillian Gish, one of the earliest American customers of Fortuny's salon in Venice. Since 1980, there was been a veritable monsoon of Fortuny books, but De Osma basically says,"I fathered them all," and shrugs in delight. The thing you will remember about the first book in 1980 is how the illustrations were largely in black and white, of no use whatsoever for showing off the work of one with so rarefied a sense of color that Anni Albers herself sought private lessons from him in his old age. But the pictures in the new updated "Fortuny: His Life and Work" book are almost all in color. A rich thrilling color! when things were pitiful for Fortuny, for after the stock market crash of 1929 he always had to scramble. His famous face, as distinctive as those of Picasso, Chaplin, Dietrich, could be sen in magazine advertisements for cars, handkerchiefs, champagne, a sad comedown, and meanwhile his couture customers had either killed themselves or moved on to newer and trendier designers. De Osma reminds us that things were so bad that in 1936 Fortuny sold his entire collection of Goya drawings to the Metropolitan Museum of Art in New York. Sad, sad, sad! He did not live to see the triumph of the "New Look" but he would have laughed, for what was it after all, but a trimming down of many of his ingenious ideas of the 1910s and 1920s. Today, as screen stars like Alicia Vikander and Kristen Stewart continue to proclaim Fortuny as their designer of choice at the Met Gala, you will also see Fortuny lamps imitated in such ersatz shops as Design Within Reach and even Ikea. Oh, how the mighty are fallen! Check out the glorious black and white photos of mezzo Gladys Swarthout (1900-1969) in enough Fortuny fabric to fill an opera trunk on page 284-285.
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