Study for a tree-trunk vase with female figure
Richard-Ginori
This pencil sketch on paper shows a study for a vase in the shape of a tree trunk from which a naked female figure emerges. A white porcelain version of this same composition exists at the Ginori Museum, which almost faithfully reproduces the drawing, except for the pose of the figure’s right arm (inv. 7467). It is interesting to observe how, initially, the illustrator sketched this detail in two different positions: one more closely matching the ceramic version, with the arm raised to the forehead, and the other, later traced over and made final, with the arm lowered and moved away from the side.
The image, which seems to take on an almost symbolic meaning, with the small figure emerging from darkness into light, reflects the Doccia Manufactory’s adherence to the Liberty style in the very early years of the twentieth century. The then artistic director Luigi Tazzini had the opportunity to see porcelain creations in the Art Nouveau style from various European manufactories at the 1900 Paris Universal Exposition and, upon returning to Doccia, introduced inspirations derived from the new decorative trends.
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This pencil sketch on paper shows a study for a vase in the shape of a tree trunk from which a naked female figure emerges. A white porcelain version of this same composition exists at the Ginori Museum, which almost faithfully reproduces the drawing, except for the pose of the figure’s right arm (inv. 7467). It is interesting to observe how, initially, the illustrator sketched this detail in two different positions: one more closely matching the ceramic version, with the arm raised to the forehead, and the other, later traced over and made final, with the arm lowered and moved away from the side.
The image, which seems to take on an almost symbolic meaning, with the small figure emerging from darkness into light, reflects the Doccia Manufactory’s adherence to the Liberty style in the very early years of the twentieth century. The then artistic director Luigi Tazzini had the opportunity to see porcelain creations in the Art Nouveau style from various European manufactories at the 1900 Paris Universal Exposition and, upon returning to Doccia, introduced inspirations derived from the new decorative trends.
