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Paolo De Poli (Padua, August 1, 1905 - Padua, September 21, 1996) was an Italian enameller and painter. ==Biography== After an early training in drawing and embossing on metal at the art school Pietro Selvatico of Padua and in oil painting in the studio of the Trentini painters in Verona, he began a career as portrait and landscape painter.〔In 1929 he participated in ("La mostra d’arte dei sindacati veneti" ) in Padua.〕 In 1926 he participated for the first time in the XV Venice Biennale with the oil ''Still life''.〔(ASAC )- Historical Archives of Contemporary Arts, Venice Biennale.〕 In the thirties during his travels and visits to art museums and archaeological sites he has been exposed to the traditional and ancient art of vitreous enamel. Fascinated by these experiences, from 1933 onwards he devoted himself to creative works of enamels on metal. At first he experimented with small refined decorative objects of many shapes in brilliant colors. By improving the technique, he mastered the craft and reached the highest levels of innovation. In the forties he collaborated with Gio Ponti in the production of (furniture ) and decorative panels. Later their collaboration led to new objects of design and (animal motifs ) in sculptural forms. In addition to production of vases, bowls, trays, plates, cups, plaques and doorhandles in enamel on copper, he also worked on large panels for decorating the interiors of ships and ocean liners, hotels, universities, public buildings and homes of collectors, in Italy and abroad. Many works are the result of collaborations with architects-designers, such as Gio Ponti, Guglielmo Ulrich, Melchiorre Bega, and artists such as Filippo De Pisis, (Bruno Saetti ), Gino Severini, (Roberto Aloi ). He also dedicated himself to executing altarpieces and cycles of panels on the theme of the Stations of the Cross, preserved in churches (of Padua ), Abano Terme, Bergamo and Treviso. His creations were displayed in the main International Exhibition: Brussels in 1935, in Paris in 1937, in New York in 1939, and in several decorative shows and art fairs as those held in Florence, Cairo, Helsinki, Monaco, London, Oslo, Stockholm, Beirut etc. as part of the expression of the Italian style. He exhibited his enamel works 14 times at the Venice Biennale〔in 1934, 1942, 1948, 1950, 1952, 1954, 1956, 1958, 1960, 1962, 1964, 1966, 1968, 1970.〕 and 10 times at the Milan Triennale.〔in 1936, 1940, 1947, 1951, 1954, 1957, 1960, 1964, 1968.〕 As for the modern productions of Murano glasses and Faenza majolics, many of his works in enamel on copper, as wall panels and design objects, now belong to the permanent collection of important museums of decorative arts and design.〔as the Brooklyn Museum in New York, the Mart of Trento, the Modern Art Museum Ca' Pesaro of Venezia, the (Wolfsoniana ) Collection of Genova, the Musei Civici of Padua, Italy〕 He has always been actively involved in the defence of the cultural heritage and in the promotion 〔When, on 11 March 1944, the Eremitani church in Padua was bombed along with its mural by Andrea Mantegna, Paolo De Poli (organized ) (the retrieving of the splintered pieces ) of the mural which 56 years later has been restored.〕 and protection of arts and crafts through associations and boards. From 1960 to 1973 he served as member of the board of directors of the Milan Triennale. In 1970 he was decorated with the title Cavaliere del Lavoro.〔List of (Cavalieri del Lavoro )〕 The personal archive of designs, prototypes, photographs and correspondence of the artist is entrusted to the Archivio Progetti of IUAV University of Venice. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Paolo De Poli」の詳細全文を読む スポンサード リンク
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