Adolfo Magrini (architect) – Wikipedia

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Adolfo Magrini (Argenta, 20 October 1858 – Ferrara, February 2, 1931) was an Italian architect.

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Often confused with the homonymous painter, [first] [2] He was born in Argenta from Dr. Luigi (1826-1890) and Beatrice Dioli (1835-1928), who also had Guelph (1856-1939). As Alfonso Sautto reports, the climate in which Adolfo and his brother grew, was of a peaceful environment, with loving parents and cousins ​​loved as if they were children, making sure that Adolfo grew “between flowers of virtue and love poetry”, [3] Indication that albeit with emphatic tones, it reflected the climate of an comfortable family in which children could follow their inclinations without concerns regarding income.

Resident in Ferrara from 12 July 1872, from 1889 he settled in via Boccacanale di Santo Stefano at n. 5 To then move from 1898 in Largo degli Armari n. 3 (today Piazzetta fighters), who will remain his study: lastly, in 1901 he will move his home to via Palestro n. 107, where he will remain until death, without even getting married to continue to devote himself to the care of family members, especially the mother who has been widowed in 1890.

Training and didactic activities [ change | Modifica Wikitesto ]

He attended the technical schools and subsequently the Technical Institute of Ferrara (1873-1880) [4] [5] And after obtaining the license, he enrolled in the Academy of Fine Arts in Bologna since 1880 [6] to the following year, [7] from which he came out in Plastic In 1882 after having perfected in architecture and decoration With Luigi Domenichini, from 1875 to 1877 [7] and Gaetano Lodi, between 1881 and 1882 in decoration with Albino Riccardi and in plastic with Giuseppe Pacchioni, also following the lessons of Aesthetics by Enrico Panzacchi.

He began teaching just twenty -three, in 1881, being appointed teacher of the Bolognese League for the education of the people, while the following year he established a free design school applied to the arts, with 24 attending students, activities in which the his high social sense towards the spread of education, also aimed at learning a profession. In 1883 [8] And until 1903 he obtained the position of assistant assistant to the chair of drawing of prof. Vincenzo Tosi in the Ferrarese technical schools, then becoming a teacher of drawing and deputy director until 1909, the year in which he asked for rest.
To the Technical Institute of Ferrara, between 1885 [9] And 1919, he was coadjutor-assistant and later owner of ornamental, architectural, constructions and topography drawing, also becoming vice principal. [ten] After having been appointed member of the school manager of the school Dosso Dossi In 1907, the following year he was the owner of teaching in the technical school Teodoro Bonati and in 1909/1910, member of the Commission of Fine Arts and Edity , as well as in 1920/24. [7] Renounced in 1912 to the chair of art history at the Regio Ginnasio high school from Ferrara while the following year he won the competition for qualifications becoming a professor of Architectural and ornamental design at the university, remaining almost until the end of his life. During this activity, in 1916 he replaced Giuseppe Ravegnani at the management of the Ferrarese school Dosso Dossi due to an illness of the same. [6] In 1919 he was appointed director of the Risorgimento Museum of Ferrara. [6]

The simultaneous activity of Magrini in schools of various order and degree, had a national importance for its activity within the National Association of Drawing Teachers and above all for the publication of the geometric design manual addressed to schools, a work of great and lasting success. [11] In the V ° National Congress of the Association, presented a report in which he explained the right to education for each individual, both for himself and as a member of the community, indicating in artistic learning the contribution in the formation of aesthetic sentiment from the young age of the pupil, citing the contributions from several psychologists and pedagogists, while for pupils aged 12 and over, he claimed that many works of art should be shown. Finally, the institution of didactic museums aimed at constituting collections of various nature, which can be visited by the teacher together with the students as in those days took place in the schools of Manchester, also providing the loan of books and paintings to the students themselves in order not to interrupt their contact with art and make their homes become a continuation of the school. Also provided excursions in representative places to be able to compare art with its interpretations but also to make it clear how every artifact was an expression of the beauty of modernity and element that brought together both aesthetic and functionality. In the last pages of the report, the numerous practical councils aimed at implementing the previously illustrated school project, seeing public and private bodies, cultural associations and families, the latter considered the primary place for the departure of each training.

Associations [ change | Modifica Wikitesto ]

In addition to the work declined between teaching and architectural design, activities always connected to each other, this did not prevent him from being part of various local and national associations. Among the most significant and beyond those already mentioned, he was also a city councilor. [twelfth] He was a member of the Commission of antiquity and fine arts of the Municipality of Ferrara (for which he examined and corrected most of the projects inherent in the burials both in the city and in the forest, in the period between the two wars) [6] and the National Association of Drawing Teachers , founded by him, for the Ferrarese section, in 1911 and of which he became secretary Augusto Droghetti [6] While in the last years of life, from 1919 to 1931, he was honorary president of the Pinacoteca Civica at Palazzo dei Diamanti in Ferrara, succeeding Droghetti, who died in 1918.
In 1920 the works of the collection chronologically reordered, publishing the catalog together with notes on the origin of the gallery and on the building that houses it. [13] To this institution, he left his entire library “of artistic nature” in the sign of the link created with it: it consisted of books, some ancient and of undoubted value, brochures, magazines, print tables of drawings. The legacy took place on 1 October 1931 and was placed in the office of the Department on the testamentary execution of the Rag. comm. Tito Ferranti, director of the Banca Popolare di Ferrara.
The legacy was divided into nine sections based on the topics covered: ornamental, geometric, architecture, artistic illustrations, art and history, art publications, Ferrara in art and history, tourist guides, catalogs and various, being in one rich manualistic that goes from all over the nineteenth century, in addition to the texts of Francesco Militia and Andrea Palladio (in an edition of 1616 of Carapello, Venice), the Rule of 5 architecture orders by Jacopo Barozzi in four different editions (1736, 1814, 1845, 1885) and a German edition of the Prospect (1708) by Andrea Pozzo, countless tables of gates and ornamental work in wrought iron, decorations for private construction, contemporary national and international magazines of civil architecture and precious monographs, including the two volumes of Roberto Martinenghi The modern villa (Milan, 1915), of Arch. Cavazzoni, The villa , (Milan, s.d.) O dell’arch. Venceslao Borzani Gambaro building in Genoa (Turin, 1913) and The Celle Ligure villas (Turin, 1924). The latter also dealt with the neo-medieval style accommodation of the facade of the Ferrarese town hall. The mode of operation Di Magrini saying that seeing many examples was his method to rework new models. [14]

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The manual Geometric drawing course for secondary schools [ change | Modifica Wikitesto ]

In his Geometric drawing course for secondary schools of 1905, he uses his didactic experience to create the strictly school part of the school model he had in mind, building with theoretical texts reduced to the essentials, together with a rich repertoire of tables reproducing the design of each architectural, decorative and design element , useful to those who face the subject or to those who face a more complex work: in terms of completeness of the work, 32 editions and the huge success as well as the maximum diffusion of the work are justified. [15] The manual begins with the first rudiments of the geometric design, projections of straight lines, development of linear figures and solids up to, after a classification of styles in chronology order, the design of buildings and the actual architectural composition, with first The residential house, together with the whole apparatus that follows. The correlation images are clear and clear, together with an embarrassment that makes it usable and easy to consult even for those who have no experience.
The newspapers that reported the review of Magrini’s book were: in Ferrara Magazine It is The province of Ferrara , The flow (Milan), Mathematics periodical (Livorno), The moment (Turin) , The province of Padua , The Resto del Carlino (Bologna), The school drawn (Arezzo) and in Rome Homeland , The citizen , The literary route It is Our sea . [16]

Of different character than the manual of Geometric drawing , instead they are the Architectural drawing lessons held by Magrini at the Ferrara University and collected by the students Giuseppe Guidi and Arnoldo Fogagnolo in a volume they then donated to the Ariostea Municipal Library on 7 June 1916. The text is divided into two parts, in which the first is made up of a real e own history of architecture from the origins in the early 1900s completed by examples carried out by the same professor, followed by a distinct chronological table for centuries while the second is more specifically dedicated to architectural design, [17] whose theory immediately follows the practice, for which the illustration tables of the aforementioned geometric drawing manual are used above all. [18]

According to Magrini himself, the rapid and radical change of people’s conditions and life needs, imposed on the architect the solution of new problems, first of all linked to the multiplicity of the building types to which he was called to design according to the most modern criteria. The need to reconcile both aesthetic and building innovations led to the obtaining of a product both functional and beautiful, also optimized at an economic level. [19] As for eclecticism, it was considered by Magrini dangerous because it is difficult to maintain the balance between decoration and decoration, between flat composition and composiveism, between link with the Italian tradition and temptation to the Northern European one. When this link is achieved, the results will be suggestive and sometimes surprising and new. With regard to this style, in the pages in which it is involved, although it has not inserted relative examples, it can be said that it was belonging to this current, albeit in a cautious way. [20]

Works and projects [ change | Modifica Wikitesto ]

From the census of its library left to the Pinacoteca Ferrarese, the style of Magrini can be deduced, in a position of balance between ancient – understood as a solid base of culture and technical skills deriving from the masters of the Renaissance – and modern, understood as an experimentation of the relationship Between aesthetics and functionality, aimed at social progress that began in the second half of the nineteenth century. [21]

Together with the architect Giacomo Diegoli in 1913, on the occasion of the centenary, [6] He drawn up an completion project for Ciborio and the facade of the church of San Cristoforo alla Certosa (while the restoration of the choir was entrusted to the Casalini Abanist [6] ), in the monumental cemetery of Ferrara and in the same period also directed the reconstruction of the main altar of the same temple. In the Certosa he erected his family tomb in the early 1920s, created by the Bigoni company. [22] [6] And the Bosi tomb. [6] He was active, among other things, in Ferrara, [23] Argenta, Cesenatico (where he made villini, hotels, churches [6] ), where he performed the Regulatory plan In 1923, [7] Bergamo, Rome and Cettigne [6] as well as in Montenegro, [24] Although some of his works have been erroneously attributed to his homonymous. [first]

In 1895 he also collaborated with the newspaper The school of drawing of Bergamo. [6]

Upon death, he was remembered on the pages of the Corriere Padano by his friend Giuseppe Agnelli, [25] Director of the Ariostea Municipal Library and founder of the Ferrariae Decus Association, of which he was part of the Board of Directors from 1920 to 1927, together with the engineers Righini, Scabbia and Maciga, also following the renovation of the Municipal Palace of Ferrara. [6] Always on Padano , the following month also Adolfo Sautto, a scholar of history and arts from Ferrarese, dedicated himself to Magrini by analyzing the most of two hundred works carried out under the direction of the architect, an article that preludes the subsequent publication In memory of Prof. Adolfo Magrini , entering in detail above all as regards the administrative positions and the honors obtained. [26]

Exposures [ change | Modifica Wikitesto ]

He participated in various exhibitions of the company Welcome Tisi of Ferrara but also in Turin in 1890 at National Exhibition of Architecture and in Livorno, to Donatellian exposure , where he won a gold medal. [6]

Graphic works [ change | Modifica Wikitesto ]

Among the various tables of Magrini in addition to those for the Geometric drawing course for secondary schools , 1905 and subsequent editions and freehand sketches, there are:

  • Tables with decorations for architectural frames , 1916 shifts.
  • Architectural sketches , Ferrara, Civic Museums of ancient art, Palazzo Bonacossi
  • Decorative apparatus for theater , 1886-1888
  • Floral print [27]
  • Flowers and their applications , s. d. [28]
  • Renaissance decorative reasons in S. M. Novella in Florence , S SS SM. These.

Architectural projects [ change | Modifica Wikitesto ]

A Ferrara :

  • Project for the building of the Astronomical Observatory , 1877 [7]
  • Temple project for the Argenta cemetery , 1880 [7]
  • Politeama project in Ferrara in the Zamorani garden area , 1883 [7]
  • Day and night theater project for 3,000 spectators , 1886 [7]
  • Technical-administrative project for the construction of workers’ houses in Argenta , 1889 [7]
  • Theater project with related decorations , presented in 1890 at the I^ National Exhibition of Architecture of Turin [7]
  • Lombardesco -style theater project , presented in 1892 to the industrial artistic exhibition, silver medal [29]
  • Electric workshop project for public lighting in Argenta , 1893 [7]
  • Monument project to Dante , 1895 [7]
  • Facade and bell tower project for the church of San Giacomo ad Argenta , 1897 [7]
  • Covered market project in Argenta , 1898 [7]
  • Project for the discovery of the base of the facade of the cathedral of Ferrara , 1923 [7]
  • Palazzina project for Mr. Knights , 1924 [7]
  • Project of accommodation of the Palazzo del Monte di Pietà , 1924 [7]
  • Project for the large wall unit for the new aqueduct , 1925 [7]

A Cesenatico :

  • Project of two villas of Mr. From cows and villa Leoni , 1910/1911 [7]
  • Villa for dr. F. Magrini , 1912 [7]
  • Building for the Bagnanti club , 1913 [7]
  • Hotel with skating, cinema, coffee for Mr. Boats , 1913 [7]
  • Villa for Cav. Navarra , 1913 [7]
  • Villa Battelli , 1915 [7]
  • Large modern hotel , 1919 [30]
  • Church project for the cemetery , 1923 [7]

For the royalty of the Montenegro The Cettigiag: [7]

  • Two projects of the Palace for S.A.R. Prince Pietro del Montenegro
  • Villa for S.E. Miter Martinovich, general head of the military house of the king of Montenegro
  • Projects of cheap houses and civilian home for Cettigne
  • Villa for Senator Jamo Dergvinch
  • Project for the villa of S. E. Ramadanovich
  • 1901 – Knight of the Order of the Crown of Italy.
  • 1911 – Official Knight of the Order of Danilo I ° del Montenegro. [24] [thirty first]
  1. ^ a b Luigi Menegazzi, The Italian Manifesto , Milan, Mondadori, 1989, p. 240, elsewhere, pp. 221-222, in Lucio Scardino, Carta sirens – 120 Ferrarese posters and postcards from 1860 to 1960 , Art edition m. G., ferara, 1984, PP. 209-210
  2. ^ Giuseppe Inzerillo, Adolfo Magrini Argentano artist without a plaque . are lanuovaferrara.gelocal.it . URL consulted on June 7, 2020 . The author partly clarifies the case of homonymy but publishes an ancient painting by the parish church of Sant’Egidio, confusing it with the alfa chariot in the Sanctuary of the Poggetto, which was destroyed in the last days of the Second World War
  3. ^ Adolffo Sautto, In memory of Prof. Adolfo Magrini , Ferrara, Grafiche Industries, 1931, p. 7
  4. ^ Marica Peron and Giacomo Savioli, Ferrara designed – Reflections for an exhibition , Ferrara, Arstudio C, 1986 II^ edition, p. 98.
  5. ^ Lucio Scardino, Antonio P. Torresi, Post Mortem – Drawings, Decorations and Sculptures for the nineteenth -century Certosa of Ferrara , Ferrara, Liberty house, 1998, p. 174.
  6. ^ a b c d It is f g h i j k l m n Scardino – Torresi .
  7. ^ a b c d It is f g h i j k l m n O p q r s t in in In x and With Peron – Savioli .
  8. ^ Since 1884 second Peron – Savioli
  9. ^ Obtained the assignment for the resolution of the council, Peron – Savioli
  10. ^ In the school system of the time, the school corresponded to the subsequent technical institute for surveyors Simonetta Savino and Lucio Scardino, I Magrini – Four artists Ferrarese between the nineteenth and twentieth centuries , Ferrara, La Carmelina, 2016, p. 10, ISBN 978-88-99365-28-8
  11. ^ Simonetta Savino and Lucio Scardino, I Magrini – Four artists Ferrarese between the nineteenth and twentieth centuries , Ferrara, La Carmelina, 2016, p. 10, ISBN 978-88-99365-28-8
  12. ^ Giuseppe Inzerillo, Adolfo Magrini Argentano artist without a plaque . are lanuovaferrara.gelocal.it . URL consulted on June 7, 2020 .
  13. ^ In the same year, he performed the historical study on the Villa portraits collection, Peron – Savioli
  14. ^ Adolfo Magrini, Geometric drawing course for secondary schools , Bologna, Pongetti, 4th edition, 1906, was the edition donated to the Civic Pinacoteca, mentioned in Simonetta Savino and Lucio Scardino, I Magrini – Four artists Ferrarese between the nineteenth and twentieth centuries , Ferrara, La Carmelina, 2016, p. 10, ISBN 978-88-99365-28-8 , it first published on its own at the home of Magrini while subsequently there are letters of thanks of some illustrious university teachers to whom the author paid tribute to the book itself, also reporting some reviews that exited both local and national press
  15. ^ Adolfo Magrini, Geometric drawing course for secondary schools , Bologna, Pongetti, 4th edition, 1906, mentioned in Simonetta Savino and Lucio Scardino, I Magrini – Four artists Ferrarese between the nineteenth and twentieth centuries , Ferrara, La Carmelina, 2016, p. 15, ISBN 978-88-99365-28-8
  16. ^ Simonetta Savino and Lucio Scardino, I Magrini – Four artists Ferrarese between the nineteenth and twentieth centuries , Ferrara, La Carmelina, 2016, pp. 12 E 15, ISBN 978-88-99365-28-8
  17. ^ By page 73 The page 179
  18. ^ Notes and sketches collected by the students Giuseppe Guidi and Arnoldo Fogagnolo on the architectural drawing course carried out by Prof. Adolfo Magrini at the University of Ferrara , polygraphic work, s. d., completed between 1913 and 1916, Simonetta Savino and Lucio Scardino, I Magrini – Four artists Ferrarese between the nineteenth and twentieth centuries , Ferrara, La Carmelina, 2016, p. 15, ISBN 978-88-99365-28-8
  19. ^ Guidi – Fogagnolo .
  20. ^ Simonetta Savino and Lucio Scardino, I Magrini – Four artists Ferrarese between the nineteenth and twentieth centuries , Ferrara, La Carmelina, 2016, p. 14, ISBN 978-88-99365-28-8
  21. ^ Adolfo Magrini, Geometric drawing course for secondary schools , Bologna, Pongetti, 4th edition, 1906, mentioned in Savino – Scardino
  22. ^ 1922 in Lucio Scardino, Certosa 1885-1985: a historical/artistic path in, Roberto Roda and Renato Sitta (edited by), The Certosa of Ferrara , Notebooks of the Ferrarese ethnographic center, Padua, Interbooks, 1985, p. 76
  23. ^ Palazzina nursing home Quisisan ; Some houses in Viale Cavour and Corso Giovecca
  24. ^ a b Savino – Scardino .
  25. ^ Giuseppe Agnelli, The death of Adolfo Magrini , in Corriere Padano , February 3, 1931, p. 5.
  26. ^ Adolffo Sautto, Nel thirty della death di Adolfo Magrini , in Corriere Padano , March 3, 1931, p. 5.
  27. ^ In Rose L., Ornate , Naples, 1911, mentioned in Savino – Scardino
  28. ^ In For the art IV , Turin, raw and lactol publishers, mentioned in Savino – Scardino
  29. ^ Exhibition promoted by Fine Arts Company in Ferrara, for the centenary of the University, Peron – Savioli
  30. ^ With 130 rooms, Peron – Savioli
  31. ^ 1912 in Lucio Scardino, Antonio P. Torresi, Post Mortem – Drawings, Decorations and Sculptures for the nineteenth -century Certosa of Ferrara , Ferrara, Liberty house, 1998, pp. 174.
  • Marica Peron and Giacomo Savioli, Ferrara designed – Reflections for an exhibition , Ferrara, Arstudio C, 1986 II^ edition, pp. 98-99.
  • Adolffo Sautto, In memory of Prof. Adolfo Magrini , Ferrara, Grafiche Industries, 1931.
  • Simonetta Savino and Lucio Scardino, I Magrini – Four artists Ferrarese between the nineteenth and twentieth centuries , Ferrara, La Carmelina, 2016, ISBN 978-88-99365-28-8.
  • Lucio Scardino and Antonio P. Torresi, Post Mortem – Drawings, Decorations and Sculptures for the nineteenth -century Certosa of Ferrara , Ferrara, Liberty house, 1998, p. 174.
  • Roberto Roda and Renato Sitta (edited by), La Certosa di Ferrara, Quaderni of the Ferrares ethnographic center , Lucio Scardino Certosa 1885-1985: a historical/artistic path in, Padova, InterBooks, 1985, pp. 73-80.

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