L'Italo-Americano

www.italoamericano.org 8 THURSDAY, JANUARY 11, 2024 L'Italo-Americano C a p o d i m o n t e porcelain repre- sents a signifi- cant chapter in t h e h i s t o r y o f Italian art. Dating back to the mid-18th century and known for its incredibly detailed d e s i g n s , e v e n t h e L o u v r e wanted to showcase its beau- ty, as demonstrated by the exhibition currently gracing its visitors, which will last until the end of the month. Delicate figurines, ethereal f l o w e r s , a n d c o l o r s a s diaphanous as precious gold dust: Capodimonte porce- lain is all this and more. Deeply rooted in the cultural a n d a r t i s t i c h e r i t a g e o f Naples, its history began in 1743 when King Charles B o u r b o n a n d h i s wife Maria Amalia of Sax- ony established a porcelain production center in their royal residence of Capodi- monte: their ambition was to rival the renowned German porcelain produced by the Meissen factory. This initia- tive led to the creation of t h e R e a l F a b b r i c a o f C a p o d i m o n t e , w h i c h quickly gained recognition as one of the most important porcelain factories in Europe, n o t e d f o r i t s u n i q u e a n d innovative techniques. Capodimonte porcelain was distinctive due to the a b s e n c e o f k a o l i n , a k e y i n g r e d i e n t i n t r a d i t i o n a l porcelain: instead, it utilized a m i x t u r e o f c l a y s f r o m southern quarries, resulting in a tender, white-colored porcelain that differed from other European varieties. The soft-paste body of the porce- lain, which was usually pure white and sometimes slightly tinged, had a lustrous glaze and was used for tableware, figures, and decorations. When Charles III Bourbon returned to Spain, he took with him all the porcelain produced, considering these w o r k s a m o n g t h e m o s t important royal manufac- tures; for this reason, the porcelain business in Naples faced a crisis until 1773 when Charles III's son, Ferdinand IV, founded the Real Fab- b r i c a F e r d i n a n d e a , attracting some of the best European artists. The period between the 1780s and the 1800s is considered the most significant in the history of Capodimonte porcelain, par- ticularly under the guidance of Domenico Venuti, who established a renowned art school. In the later years, after the closure of the Naples porce- lain factory, Neapolitan pot- teries continued to produce creamware and fine glazed earthenware, similar to Eng- lish Wedgwood. The first pri- vate porcelain factories in Naples were established in the second half of the 19th century, including Majello (1867), which is still active today; during this time, many copies and forgeries of early Capodimonte pieces were made by various factories a r o u n d E u r o p e , w i t h a notable number originating f r o m R u d o l s t a d t , i n G e r - many. The most notable Capodi- monte masterpiece is, per- haps, the Rococo Porce- lain Room, also known as t h e P o r c e l a i n b o u d o i r o f M a r i a A m a l i a o f S a x o n y . Originally conceived for the Palace of Portici between 1757 and 1759, the room was later moved to the Capodi- monte Palace in Naples. The room,, measuring 6.75 x 4.8 x 5.13 meters, is adorned with t h r e e t h o u s a n d p i e c e s o f porcelain, large French mir- rors, and a Rocaille stucco ceiling, creating a unique and lavish atmosphere inspired b y t h e C h i n o i s e r i e t a s t e prevalent in the 18th century. Its development involved not only porcelain specialists but also plasterers, carvers, and gilders, with notable contri- butions from Mattia Gas- parini for the stucco ceiling and Gennaro di Fiore for wooden carvings. The porce- l a i n w a s d e s i g n e d b y Giuseppe Gricci and craft- ed at the Royal Porcelain F a c t o r y o f C a p o d i m o n t e , with the plates made in mold on plaster forms, and the third fire pictorial decoration executed by Johann Sigmund Fischer and Luigi Restile. The Porcelain Room was ini- tially intended for private use by Queen Maria Amalia, but she scarcely used it, as she m o v e d t o M a d r i d s h o r t l y a f t e r i t s c o m p l e t i o n . T h e s p a c e u n d e r w e n t v a r i o u s u s e s o v e r t h e c e n t u r i e s , including as a writing and r e c e p t i o n r o o m . I n 1 8 6 6 , with the transfer of Bourbon a s s e t s t o t h e K i n g d o m o f Italy, the porcelain cladding of the room was dismantled a n d m o v e d t o t h e R o y a l Palace of Capodimonte. It was then equipped with new w o o d e n f i n i s h e s a n d f u r - n i s h e d w i t h E n g l i s h a n d Neapolitan furniture from the royal collections. But how is Capodimonte porcelain made? Well, the production of this historical icon of our M a d e i n I t a l y i n v o l v e s a multi-step process that starts with an artist's vision, then transformed into a detailed sketch. After that, a gypsum model is shaped on a lathe, with intricate details carved by hand. Liquid porcelain, known for its high quality and translucency, is poured into the mold. After initial d r y i n g , e x c e s s l i q u i d i s r e m o v e d t o f o r m t h e r a w object, which is then refined to eliminate any imperfec- tions. For floral designs, each petal is hand-shaped. The porcelain undergoes a high- t e m p e r a t u r e f i r i n g ( 1 2 5 0 degrees Celsius) to become a b i s c u i t p o r c e l a i n o b j e c t , which is then hand-painted and fired again to set the col- ors. This meticulous process results in the unique and highly prized Capodimonte porcelain pieces. Caring for Capodimonte porcelain is crucial to main- taining its value and beauty: g e n t l e c l e a n i n g w i t h s o f t brushes or cloths, and avoid- ing harsh chemicals, is key. Safe storage away from direct sunlight and extreme tem- peratures is also very impor- tant, with specialists advising to check for damages regular- ly, too. T o d a y , C a p o d i m o n t e porcelain is recognized for its unique design elements and quality craftsmanship, mak- i n g i t a s o u g h t - a f t e r c o l - lectible. The value of these p i e c e s c a n v a r y w i d e l y depending on factors like rar- ity, condition, age, and the complexity of the design. Authentic, antique pieces from the original royal man- u f a c t o r i e s ( u n d e r K i n g Charles III and later under Ferdinand IV) are especially prized. These original items often feature a fleur-de-lis mark or a crown and the let- t e r " N " s i g n i f y i n g N a p l e s . H o w e v e r , n o t a l l Capodimonte wares with the "N" and crown mark indicate a connection with the royal factory: many modern pieces produced since the 1920s also bear this logo, but their value is more in the quality of t h e w o r k r a t h e r t h a n t h e mark itself. As for the most e x p e n s i v e C a p o d i m o n t e pieces ever sold, they include remarkable items like a pair o f o v i f o r m v a s e s s o l d f o r about $43,000, a porcelain piece named "Colombina and Pantalone" fetching around $60,000, and a set of teacups and saucers which sold for a s i m i l a r p r i c e . O n e o f t h e highest-valued pieces is a C a p o d i m o n t e t e a p o t a n d cover, which was sold for about $163,000. Beautifully decorated Capodimonte figurines (Photo: Al1962/Dreamstime) Capodimonte, porcelain fit for a king CHIARA D'ALESSIO LA VITA ITALIANA TRADITIONS HISTORY CULTURE

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