Please use this identifier to cite or link to this item: http://hdl.handle.net/10077/12865
Title: Napoleone Martinuzzi, scultore veneziano, e Gabriele d’Annunzio: il carteggio inedito
Authors: Terraroli, Valerio
Issue Date: 2012
Publisher: EUT Edizioni Università di Trieste
Source: Valerio Terraroli, "Napoleone Martinuzzi, scultore veneziano, e Gabriele d’Annunzio: il carteggio inedito" in: "AFAT 31", EUT Edizioni Università di Trieste, Trieste, 2012, pp. 195-213
Series/Report no.: AFAT
31
Abstract: 
The essay presents copy and analysis of the unpublished letters between Napoleone Martinuzzi and Gabriele
d’Annunzio in the years 1917-1933, which are kept in the archives of Il Vittoriale degli Italiani in Gardone
Riviera (Brescia), last residence of the Poet.
The study of these letters has pointed out the relationship between the artist and the poet and the deep interest
of d’Annunzio in modern sculpture and the works that he commssioned Martinuzzi. In particular, the
design of the mausoleum for the poet’s mother, Luisa d’Annunzio, which had first to be built in Pescara and
later on the “Colle delle Arche” at Il Vittoriale. The idea of the mausoleum, which was never realized, was an
important characteristic of the long and deep relationship of Martinuzzi and d’Annunzio. In 1925 Martinuzzi
became artistic director at Venini in Murano and supplied Il Vittoriale with fantastic glass objects (sculptures,
lamps, vases, glasses); he shaped, for the poet, the small Vittoria, still in Jugendstil (1919), the Canefora/
Pomona, the huge bronze sculpture which follows the style of Arturo Martini, and the Busto – ritratto di
Michelangelo. These works reveal who influenced him: first Angelo Zanelli, then Ivan Mestrovic and finally
Arturo Martini.
Type: Article
URI: http://hdl.handle.net/10077/12865
ISSN: 1827-269X
eISSN: 2499-6750
Appears in Collections:AFAT 31

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