Can You Take Gaviscon Everyday ?

Museo Mercatali - Lesa, Lago Maggiore

Enrico Mercatali, "Ecco le donne!", particolare, 1939

Museum

Mercatali

When initiating a Lesa, in Casabella-Lago Maggiore, "Museum Mercatali" initiative virtual museum focused on the figure of Henry Mercatali artist, who has lived and worked since the late 20's at the beginning of the '40s, becoming a world famous, he Notebooks today published an article, accounting oblivion of the future, looking for motivation, telling the story, now intends to give meaning to the idea of \u200b\u200bpicking up the pieces within a container that knows how to reassign the just merits, and the quality of the claim history.

Above the title of Henry Mercatali a detail of the watercolor sketch on "women's" from 1939

Under the heading of Henry autofotografia Mercatali taken in the early '30s

Above autocaricatura an autograph of Henry Mercatali performed in 1934

In

want to describe di Enrico Mercatali i lineamenti d’un contributo, e d’un quadro stilistico personale ma anche organico alla prospettiva storico-artistica del novecento milanese, ben tracciabili attraverso il sia pur esiguo materiale documentale oggi rimasto, e nella memoria di chi ve li descrive, per sommi capi ve ne riportiamo un riassunto, anche inquadrandone i tratti biografici dell’uomo e dell’artista che sono ben collocabili, a partire dal periodo pur breve che egli visse, nell’impianto novecentista ad oggi consolidatosi.

Sono forme, stili, caratteri, figure, idee che ancora muovono l’immaginario di chi le osserva nell’opera di Enrico Mercatali collocandole sullo sfondo del panorama novecentista che ha avuto a Milano le sue massime espressioni nella grande mostra Annitrenta”, realizzata a Palazzo Reale nel 1982, e nell’odierno Museo Novecento.

Un panorama questo fatto di nomi ben più noti di lui, molti dei quali suoi conoscenti od amici, ed ai quali lui ebbe approccio, ma dai quali dovette rapidamente separarsi per il brevissimo periodo che la vita gli potè concedere.

Enrico Mercatali, bozzetto eseguito attorno 1935, for an illustration of a fashion magazine for women.

Above and below the enlargement of certain details.

I wish here to recall briefly the life and work, showing you some pictures of his legacy as a painter, a graphic designer, cartoonist and illustrator of fashion. This material, not abundant, but enough to represent the artist's stature, it was possible today, for the first time, reassemble inside of a museum that bears his name, that perhaps he would have preferred to collective, to feel part of a whole critically consolidated, but that was duly be attributed to him at least on a personal basis, so that they would make a first step in the direction of a historicity that inevitably will be recognized as if the memory over time, it will give the right course.

Mercatali Museum was founded with the intent to inform a wider audience as the artist who is dedicated, through the creation of a physical placement of his works and through the dissemination of its work and its most important images.

It also has set also among its principal tasks, to expand, as and when it will be possible in the future, collecting everything you find him, in a market that could still offer surprises, and the material is still very scattered among collectors and family. Its main objective is to give body and thickness to a figure artist almost forgotten by critics and audiences, but that deserves to be brought to light, for the remarkable qualities that one can easily discover only by examining what little at our disposal, now more than ever, but especially for the critical acclaim of the public that the early twentieth century was also made of individual episodes that have well-known framework within strands of a period that has broken the traditional arts in new art, full of adventure stories and creative perspectives.

Mercatali Henry, poster for "Universal Geneva: Swiss brand of a leading manufacturer of watches,

printed by printing on Garzanti unspecified decade of the '30s (photo taken from an original print of the time)

The artist we are talking about, which was almost forgotten because they died prematurely, was protagonist, in life, of a professional art world and high profile that the documents in our possession may be evidenced by, who saw him active in their new fields, such as the illustration for high fashion, and graphic design, in which he was master, and certainly among the first to use advanced techniques, such as the application of the photographic images within fotomontata plants graphs.

This article will be followed by others who tell them and delve into the life and work, and who will try to outline a more complete profile critic of what today we can not settle, adding that material as possible to what will be available today, both in terms of documentation, that works, keeping his attention on the objectives that the Museum has been given and informing the public about the changes occurring during its desired growth.

Mercatali Henry, "I see a long white painted limestone arch, drawing pencil autograph 30/11/1930

For the moment at Lesa on Lake Maggiore, drawings, watercolors, paintings, posters, photos, pictures and documents of the painter, poet and graphic designer Henry Mercatali, produced mainly in the 30s decade, were collected in a small virtual museum within the walls of Casabella, creative tourist facility, where he lives, lives and works today, the namesake nephew, a professional architect, that, from a small group of drawings has always belonged to his family, has initiated a larger collection, gathering donations and small families.

Mercatali Henry, "The big three-Falco Manufacturing Packs for Women-Naples," a handwritten page advertisement in the 1938

Now the works graphic artist and poet Henry Mercatali, who died early thirties, after working for a decade between the late '20s and early '40s, collecting undisputed successes in the audience and the artistic and journalistic criticism of cultured 'So between the two world wars, are a cultural legacy not many works which now form a corpus that can finally be viewed by intreressati.

Mercatali Henry, Soltex Zegna, Zegna FZA Electa, Astrum Zegna advertising page manuscript, date uncertain

Unfortunately the untimely death of one of the signatures of graphic and pictorial already well known in the Italian art of that time led to the inevitable smallness of his estate, which does not mean that, even in its poor ability witness, for design quality and visual art representative of their age, compared to those of his contemporaries, the oldest and best known, may be considered less important.

Mercatali Henry, "Ahead of the wool production-tissue Zegna" page ad of 1939

some ways is very similar, its history, to that of another great Italian artist who died prematurely, this time belonging to the field of music, Luca Flores, whose extraordinary talent we have talked about Walter Veltroni, in his book " The record of the world "(Rizzoli, 2003), and lived up to his life tragically premature death, the genius now contained in the manifesto but even small repertoire of music and recorded some footage, which was able to show through the talents of pianist, composer and performer of that particular form of jazz invented by him and that he preferred.

Henry Mercatali , detail of a sketch pen ink watercolor of 1939, entitled: "Here are the women!"

And so it was also, however, in the very first time and in different field, for Henry Mercatali for an artistic life marked by suffering and brevity, and the little that this could leave of his own, within the illustration graphic design, drawings in pen, in a few oil paintings, and numerous preparatory sketches for the figures and accessories for fashion, which took much of his limited time available, in caricatures and cartoons and gender that characterized his interests varied and full of vital ideas, whereas his body was leading him to death.

Mercatali Henry, "Here are the women!" Sketch pen ink watercolor of 1939 with caricatured figures pertaining to the world of women's fashion era

The various works which composed of such small but significant body of work now combined and displayed on the walls of the house-studio of his nephew Henry Mercatali, transformed from a couple of years even in tourist facility whose name Casabella was conferred in honor of the most important magazine of architecture in the world whose collection of nearly half a century in the library de the studio, make up for the first time a real small museum dedicated to the work of the Master, become very well known in his time, the circle of critics and Milanese artists, but also general public, especially for his work as a graphic, poster prominent in advertising with modern tools of communication, which was among the first, along with Gino Boccasile, Marcello Dudovich, Walter Molino, X Schavinsky, Albe Steiner, Marcello Nizzoli and many others, to adopt a language capable of new words, new adjectives industrial graphics, technical illustration then advanced, such as the use of photomontages, which were beginning to show itself in doing Italian and foreign magazines, specialized or more notes of the time .

Mercatali Henry, "Nude", signed drawing in ink of 1942

Today the architect Henry Mercatali, namesake grandson who do not has ever known because he was born after his untimely death at the age of thirty, from the few pezzi ereditati dal padre, fratello del Maestro, a partire d a un altro piccolo lascito da parte della donna che era divenuta sua promessa sposa, fatto di volumi d'arte, articoli di giornale, alcuni disegni a penna ed un olio, ha dato il via ad un interesse collezionistico, particolarmente in campo grafico che lo ha portato ad acquistare, ove e quando possibile, s tampe e grafiche originali e a raggruppare il tutto in una realtà pseudo museale entro le mura della sua casa. Così, per la prima volta dopo la sua morte, avvenuta nel 1942, è divenuto possibile approcciare in modo meno frammentario l'opera del Maestro.

Enrico Mercatali, "Ragazza che lavora" (ritratto della sorella Letizia), disegno originale autografo del 1941, riprodotto nel libro "Enrico Mercatali disegni e poesie" edito nel 1953 per le edizioni di Daria Guarnati con la prefazione dal titolo "Destino poetico" di Orio Vergani

Già il nome di Enrico Mercatali, ricordato da Orio Vergani nella prefazione di una bella monografia edita da Daria Guarnati nel 1953, intitolata "Enrico Mercatali, disegni e poesie", è apparso pubblicamente in occasione della prima grande mostra milanese dedicata agli anni '30, "Gli Annitrenta, Arte e Cultura in Italia" organizzata a Palazzo Reale in Milan in 1982.

Mercatali Henry, "working girls", signed drawing of May 1, 1942, also published on page. 51 in the book "Henry Mercatali - drawings and poems with a preface by Orio Vergani, published in 1953 by Daria Guarnati

The monograph is dedicated to him, introduced by the great writer and journalist then Orio Vergani, which recalls the main stages of art, and references that they have had with strands snodatisi critical during the first three decades of the twentieth century, and even personal ties of affection with some famous actors of the time, is especially dedicated the two final years of his adventure on earth, those of greater suffering for the limitations imposed by long illness, and the yearning that still permeated his creative passion for art, which now only allowed to draw with that typical section " trembling "that characterizes the works reproduced therein.

Mercatali Henry, "Perledo", signed drawing in ink of 1941, published in the book mentioned above

These are almost all figures of naked women and still lifes made closed in his room, except a few landscape Como made during the last summers resort that they had spent.

Mercatali Henry, autographed oil painting of uncertain date (1941?), Which depicts a small town Como

But much more interesting look today, our opinion, the contributions which it offers in the world, then much in vogue, especially in the periodical press, the social satire, the cartoon, and, more broadly, to the world of illustration for fashion and advertising, which a few examples of this show a very personal imprint and expert workmanship.

Enrico Mercatali, natura morta autografa di data incerta (1940-42?)

Purtroppo non molte sono le opere di grafica pubblicitaria da lui eseguite, che furono assai più numerose un tempo, oggi irreperibili sul mercato, o pubblicamente documentabili, certamente assai meno di quante egli ne abbia effettivamente realizzate, in un numero che oggi non è da alcuno conosciuto, ma che ancora sono nella memoria dello stesso nipote, che ne ricorda varie fino a qualche tempo fa ancora presenti in casa del padre, e poi andate purtroppo disperse, alcune realizzate anche per riviste tedesche specializzate nella grafica.

Henry Mercatali, "Tulips" watercolor ink autograph of 1942

Many of these come from fashion magazines, where he mainly worked like Falco Packaging, Packaging Soltex Sacis, but also for wider circulation newspapers in which the public could still relate to fashion, or the precision engineering, among which, for the Universal Geneva, Swiss watch factory, where a beautiful page ad, including photos of fine vintage watches male figure stands a good question from the famous painting by Gentile da Fabriano the 'Adoration of the Magi ", which is a richly dressed young king, used as a symbol of distinction and elegance.

Enrico Mercatali, "La moda per il 1940", dettaglio centrale di una illustrazione autografa per un giornale di moda femminile dell'epoca

Questa immagine è di particolare interesse, nel panorama del manifesto pubblicitario di quell’epoca (del quale se ne può avere una panoramica nel sito web: http://manifestostorico.xoom.it/index.htm), forse proprio per la finezza di scelte, di inserimento di questo tipo, e per la sobria, quasi a-storica eleganza di questi dettagli , i quali certo contribuiscono a contraddistinguerne il contributo stilistico, nel contesto generale, ma certo anche a non rendere ragione appieno dell’appartenenza in an era that has built around its stylistic clear pass (see also "fascist-style", "impression Mussolini, etc.. now some more appropriately" modernism ").

Mercatali Henry, detail of an illustration for a manuscript journal of women's fashion vintage titled "Fashion for 1940"

to this conceptual and epistemic Formal he nevertheless often referred in most of his drawings, but also the many sketches as part of the collection we have in the museum, reveal that the use of a skilful hand in drawing the figure, but often also "appear" and the poetic representation of a much more refined, made up of figures and objects in the foreground of clear skies and barely clouded, and iconic landmarks in the distance between drapery solved spectacularly as a kind of theatrical backdrop.

Mercatali Henry, "Fashion for 1940", handwritten in ink and tempera illustration

E 'also evident in the input discrete fitting rooms of ladies' upper middle class, ideal customers of high fashion brands promoted therein, for the pleasure of dealing with that universe feminine, almost foreboding of Fellini sweet lives, so they really cherished known in its folds even less socially elevated, as shown daibozzetti humorous comic types who portray the characteristics of the dance halls in the more peripheral .

Above and below: Henry Mercatali caricature drawings on women's fashions of 1939, published in a newspaper of the time: "The caricatures of fashion is sometimes not far from the truth," "The caricatures of some fashion turn reflect the reality "

Almost sensational this watercolor sketch titled," Here women, "do not know if shelved with the big one almost immediate written that cancels the wise figures that had been drawn, or if prepared for publication from some vaguely humorous. But we feel really amazing what is designed for elegance and quality of the sign, for capacity to grasp the fleeting expressions of the faces, which show great experience and excessive work of psychological investigation.

Some of these works on the walls of the house, but many stores still waiting to be cataloged, that it will soon work to be done on a list to each work or what grouping may be limited to what is available now, but would expand in the future as they know the circumstances and the luck to do, to add the new.

Mercatali Henry, "Ascent Ghisallo, signed drawing in China in April of 1934

The above I wanted to tell, by way of memory, and also in honor My father Luciano and Paola Dalai Mercatali, brother and girlfriend of Enrico Mercatali, "graphic artist and '30s," which have spoken to me about him when they were alive, there were so emotionally connected, but not much had actually done take them into public life in the memory: the idea of \u200b\u200bforever, we hear them speak, to arrive one day to make a show, an idea so strongly advocated by Paola, meanwhile I started to do something: namely, first, give opening to the virtual museum as a physical place where the works of the Master live, and there may be seen, hanging on the walls and available in the study of the house, and, secondly, to realize this article, enter the network, using the tool I have, namely International notebooks, which already has been shown to have many hits in recent months, hoping that this will bear fruit even in case someone unexpected, seeing us and having some common interest, can start with us, in that perspective, a fruitful collaboration in an effort to revive the important work he has done in the '30s, the painter, poet, illustrator and graphic designer Henry Mercatali.

Mercatali Henry - architect

(grandson of Henry Mercatali, "painter, poet, illustrator and graphic designer, 30s).

Mercatali Henry, china cartoon autograph of unknown date

Already the network: Enrico Mercatali, Milan? - 1942. talented cartoonist who died prematurely during the Second World War, he distinguished himself Mercatali advertising for some people (almost exclusively for magazines) from 1932 to 1933. At the same time he drew for the magazine supported by the regime, "the publication of Italy." Nearby, at the forefront of the advertising year thirties and forties (Xanti, Boggeri, Ricas, Dinelli, Grignani, etc ...) Mercatali was also a proponent of the technique of photomontage in advertising. Solo tre i suoi manifesti noti. Famosi quelli per la Soltex, la Universal di Ginevra.

Enrico Mercatali, autoritratto d'artista che dipinge una scarpa (un Jim Dine ante litteram ), disegno satirico a china di data imprecisata

Una poesia di Enrico Mercatali (pittore, poeta, illustratore e grafico pubblicitario anni '30)

" De Chirico":

"Il mio sogno 
è una luce
d'oro e rosa
è my dream
extraordinary
beach resonant
of silence
where naked and weightless
my dream pink and gold
my dream
formerly
horizons of the vast and empty
the magnificent horses
breathing fire and light
where the wave
overwhelming
batting seems senseless
silence
rolling
d 'living dead.
E 'melancholy poetry
dreamy painter or a poet
six
that leads us farthest
childhood
when the sea
prodigious
generated
beauty when the sun shone
of joy
on girls naked and caste
(meraviglia!)
when men sit
not built on town
time talking with
of honesty.
You're my dream
or painting fanciful
are my dream
pink and gold. "

Information: Phone 0322-76957. The museum will be visited by appointment: tel. 0322-76957 or 348-2257710 .

article Henry Mercatali - architect

Lesa-Lago Maggiore, 27 January 2011

I'm 38 Weeks And Getting White Discharge

Torino città del cinema-Grugliasco capitale del cinema

"TORINO CITY 'FILM - GRUGLIASCO CAPITAL OF CINEMA" .

history and current 'AREA THAT WAS IN 1913 FOR PRODUCING COMPANY PHOTO DRAMA OF ITALY TODAY P ARCO CULTURAL ACTIVITIES WITHIN' EXHIBITION museums, theaters, MUSIC AND TEACHING .

Above: Poster exhibition on display in the side at the conference held at Villa Ghirlanda Silva in Cinisello Balsamo nell'anno 2005, intitolato "Giardini, contesto, paesaggio - Sistemi di giardini e architetture vegetali nel paesaggio. Metodi di studio. valutazione, tutela". In essa si illustra l'esperienza cinematografica di Grugliasco (Torino), di Photo Drama Producing Company of Italy, e i risultati del programma di recupero dei suoi edifici storici, risalenti al 1913, e della preesistente Villa Boriglione, entro il nuovo Parco Culturale "Le Serre", destinato al riuso degli stessi a sedi di cultura, spettacolo, didattica e tempo libero (grafica di Roberto Petruzzelli).

Sotto al titolo una immagine dell'interno dell'edificio Nave, oggi riportato in vita, assieme the other buildings of the ancient citadel of cinema as a venue for exhibitions and cultural events in the city. The renovation of the building was carried out by Mercatali and Partners in Milan (architect Henry Mercatali with Engineer Sergio Tattoni and Giacomo della Volta, and Eng. Alberto Zambelli)

In the early twentieth century there was in the studio Photo Grugliasco Drama, solid and qualified view of Turin.

In "The Life Film Festival" (magazine of the Specialized time) was defined as: "the establishment largest, grandest that exists in Italy: it has provided a wonderful scenario, furniture and equipment: it is built according to the criteria of the most demanding modernity. We could, with little expense, given the complete material of any kind which contains a theater, and many quickly make good films ".

are fragmentary and imprecise, however, received the news on the activities of Photodrama founded by George Kleine.

Sopra: Due immagini di Villa Boriglione dopo il restauro e la ridestinazione funzionale

(progetto del recupero dell'Arch. Jacopo Chiara e dello staff dell'Ufficio Tecnico comunale di Grugliasco.

Le fotografie sono di Enrico Mercatali)

Grugliasco: Un disegno aereo del centro cinematografico di Photo Drama Producing Company of Italy, completata nel 1913, e realizzata secondo il progetto di George Kleine su un'area compresa tra Torino e Rivoli. L'area, dopo il primo conflitto mondiale, è divenuta sede delle Serre della Città di Torino, e poi Scuola per Giardinieri, e successivamente ancora, nel 2000, Parco Culturale Le Serre, quale sede di attività culturali, musicali, cinematografiche, teatrali ed espositivo museali, su progetto di Mercatali & Partners di Milano.

Sotto, una fotografia dell'epoca, realizzata probabilmente con un mezzo aereo, della cittadella cinematografica di Grugliasco, nella quale sono visibili l'antica Villa Boriglione, trasformata in sede di rappresentanza e uffici amministrativi della società Photo Drama, lo Chalet Allemand in the foreground and the iron and glass pavilion for the remotes. In the distance, we can also see the building (now called the ship) for services to the scenic, technical, plant and dressing rooms for actors, and yet the building for the development of films.

Kleine began to create opportunities and make plans to assist in his films, the most talented European and American, to that end bought a beautiful villa surrounded by a beautiful garden near Turin: Villa Boriglione (Grugliasco - Torino), bought in 1913 along with Alfredo Gandolfi e ad Alberto Stevani. All'interno del parco intorno alla Villa vennero costruiti teatri di posa e laboratori, magazzini per i costumi, gli arredamenti, le scenografie, le attrezzature per lo sviluppo della pellicola. Si realizzarono in particolare un grande teatro di posa in metallo e vetro, uno chalet svizzero (per le scene alpine), un altro chalet in stile tedesco e il "giardino d'inverno".

Nel 1927 la Città di Torino acquistò la villa, il parc o e alcune delle strutture rimaste della Photodrama installandovi la Scuola per Giardinieri "G. Ratti" e le Serre comunali. Nel 1985 l'intero complesso fu ceduto dalla Città di Torino al Comune di Grugliasco e dal 2000 "Le Serre" sono divenute sede di un parco culturale multidisciplinare, destinato ad ospitare mostre, eventi, rassegne e laboratori dedicati alle arti figurative, al cinema, al teatro ed alla musica.

Il luogo, all'epoca in cui fu acquistato da Kleine, ben si adattava per essere usato come studio di produzione su larga scala della "Photodrama Producing Company Italia". Qui il produttore americano fece costruire anche grandi locali per la realizzazione di costumi, laboratori di carpenteria e di pittura, fondali scenografici interni e scenari naturali esterni, creando così uno stabilimento di pr oduzione del tutto autosufficiente. Sfortunatamente studies were completed only sixty days before the outbreak of World War I and the dream of turning this little Kleine Cinecittà was never realized. The war forced Kleine to stop its operations in Europe in 1914 and to confine its production to American speculation.

Above and below: Two views, one external (the north side) and one inside the building Chalet Allemand, produced by Drama Photo Producing Company of Italy in 1913 and forms of alpine architecture, designed the special needs of film making.

(The building was completely restored and renovated statically, then Sudio been rebuilt as a theater, production center and theater, as well as venue for conferences and debates, the study Mercatali & Partners - Architect Henry Mercatali, with Engineers Tattoni Sergio Della Volta and James, and Eng. Alberto Zambelli)

Reality film di Grugliasco, nonostante notizie incerte e frammentarie, appare in numerosi testi di ricerca, come si può facilmente evincere dalle seguenti citazioni:
"Dal 1914 riscopriamo il film unico Il suicidio sublime (soggetto V. E. Bravetta, regia R. Tolentino, operatore N. Chiusano, interpreti I. Gramatica, U. Mozzato). Di questo film ci appare quanto mai strana la tripla citazione contenuta ne Storia del Cinema Muto Italiano di M. A. Prolo. La prima attribuisce la produzione alla Photodrama, la seconda alla Film D'Arte italiana di Roma (priva peraltro di indicazioni riguardanti i realizzatori) ed infine la terza alla Leonardo Film di Torino (nel 1915 e con la presenza delle stesse maestranze ed attori citati in precedenza). Si potrebbe pensare ad una competition between the first two production companies, and possibly a re-release in the case of the third. The workers of the same Photodrama (Tolentino, Bravetta and closed) we find in the Latin Ars Turin, with the following films: The ship of death
; The revolt of the bronze Dr. Anthony G. Ruffini, On the altar of the Fatherland, My War Diary.

Grugliasco (Torino): The iron and glass pavilion, indoor area which belonged to the Photo Drama Producing Company of Canada, home shooting film, which no longer exists. In the background we can see the Chalet Allemand, built by German Photo Drama in alpine style specially for the filming of a movie already being planned. Photo Drama activities have been arrested since the beginning of World War I, which sank all initiatives already undertaken production, at the very end of the work to develop the center, then the most innovative in Europe

latter film, adapted from the diary of a priest chaplain who died in the First World War, caused many controversies in which the local newspapers gave wide coverage. Facts: Father Semeria denied having sold the rights to the Cav. Director of the Latin Ars Tolentino, who said that he has informed his interlocutor of your project. The film was a resounding success and Father Semeria did not come alive. This case can perhaps be considered one of the first examples of success underpinned by a national scandal. At that time the Latin Ars was considered the most valid existing production houses (second semester 1915).

Research has the same production house seems to be made on the fate of Photodrama. Moreover, it seems strange that the Cav. R. Tolentino, VE Bravetta, N. Chiusano also could work for Leonardo Film. The only acceptable explanation may be that there was another production company managed and controlled by the same Tolentino. Explanation, this, that can not be confirmed because the history of Italian silent films ended in 1915 and is therefore difficult to reconstruct the fate of Tolentino, his production companies and the discovery of the film. "

Source: Grugliasco Cinema - The Greenhouse Gallery - Exhibition Hall Fert materials and film screening of silent film - June 23 - July 19, 1987

"In those years other houses were built in Turin production, the Carlo Rossi & Co., later to become Pastrone Sciamengo and then, in September 1908, finally in Italy Film, the company Ottolenghi (which in 1907 became Eagle Film), and the Easter Time (August 1910 & Pasquali C), via 46 and via Giacinto Collegno Brugnone 22; Unitas in the way of the Schools 5, then Route 355 Pellerina; Navone Film in the way Romans 17; Savoy film via Asti 20; the Centaur Film; Volsci the Film, the Film Geymonat, the Gloria Film; the Crown Film, and even the Eula Film, FIP (Factory Italian film), via Superga 10, in 1914, Lily Films, Film Leonardo, Sagra di San Michele in via 47, which even tried la pubblica (http://www.effettonotteonline.com/news Realizzata con Joomla! Generata: 29 March, 2010, 12:25) vendita di azioni per autofinanziarsi; la Photo Drama a Grugliasco; la Vidali Film; poi, nel 1915, la Benzi Film; la Bonnard Film; la Caserini Film; la Comoedia Drama Film in via Cavour 2; l'Etoile Film in via Saluzzo 17; la Fotocelere Film (che rilevò la Navone Film); la Gladiator Film; la Latina Ars in Via Roma 29; la Niagara Film; la Padus Film in via Canova 52; la Re Film; la Victor Film in via Cavour 14; la Scalera Film; l'Ardita Film (manifattura pellicole) in via Asti 6; la Victoria Film in via XX Settembre 37; la Vitè Film; infine tra le ultime a nascere la Pittaluga e la Fert (nelle quali merged forces of other minor companies) claim that this list only considers the houses that had a production official
and almost always regular course of their existence and others have disappeared immediately with the lure of easy money sometimes within a few months.

The movie had become for Turin and Piedmont, an industry of primary importance and, in that golden period of adventure to conquer a new Eldorado, the city was the Piedmontese capital of the Italian cinema. "

Source: Joseph Valabrega Splendors of Culture and Silent Cinema by working in Piemonte - Eda 1984 - pag.
159 "Dans la collection des manuscrits de la Librairie du Congrès de Washington gît le secret de ce qui aurait dû être une Hollywood européenne. Ce rêve – conçu par un distributeur et producteur américain, George Kleine, mai aussi par deux industriels italiens – aurait dû se concrétiser à Grugliasco, à quelques Kilomètres de Turin, en 1914. Ce rêve fut bien près de se réaliser: les capitaux avaient été réunis; les studios construit; une armée de techniciens, de réalisateurs et d'interprètes engagée; et la machine administrative de la Photo Drama Producing Company of Italy (tel était le nom de la firme de Kleine) avait déjà mis quatre film en chantier, dont aucun toutefois ne verrait le jour. Avec la déclenchement de la premiére guerre mondiale, en effet, le rêve se transforma en cauchemar: la rupture des équilibres économiques, la position délicate de l'Italie dans le conflit, le repli imprévisible de ceux qui avaient cru, à la réussite d'une entreprise sans précédent en Europe, tout se conjugua pour déterminer la fallite de la plus ambitieuse des opérations de production jamais tentées sur le vieux continent par un industriel venu des Etats-Unis".

Fonte: Paolo Cherchi-Usai, Un Americain a la conquete de l'Italie (George Kleine à Grugliasco, 1913-1914) / Archives
Institut Jean Vigo – Cinematheque de Toulouse n. 22/23 Avril/Mai 89

EFFETTONOTTEonline

Inviato da Sarah Scaparone

(Le foto sono state raccolte negli archivi del Comune di Grugliasco e adattate, o riprese in sito, da Enrico Mercatali, durante i lavori di ristrutturazione dell'area e dei suoi edifici, che egli progettò e diresse con Mercatali & Partners, e con gli studi Ing. Sergio Tattoni e Giacomo Della Volta, e Alberto Zambelli Ingegneria Impiantistica Generale)

Melina Velba Bathing Suit

LESA
IS NOW COMPLETE AND ITS
LAKESIDE PRESERVE THE HILLY PART OF ITS TERRITORY

In previous articles and other international Notebooks (13 September 2010, January 7, 2011) we showed our point of view about the centrality of Lesa - Lake Maggiore, and of course the territory in which geographically located and Urbanism, also including those of the municipalities the neighborhood on the western shore of the lake. We had given this concept of centrality that included a very broad connotation not only aspects of physical proximity to places where economic interests are concentrated, social and cultural rights, such as to cause short transfer times to reach them, but also those who are a psychological attraction, and where choices must be made for residential, whether you are identified in terms of the major tourist attractions.
In this article we want to introduce aspects of the administrative life of Lesa which concern matters that certainly have much to do with those before treatment, and form elements of primary importance for the life of its citizens, regardless of the broader issues that we had in previous articles highlighted. For this twofold reason, therefore, issues that are debated in recent days as part of civic policies must be considered by everyone (citizens and administrators) of the utmost importance.

Two issues in particular are now on the table, even on the table of who is ruling Lesa, great little town on the western shore of Lake Maggiore, which, despite their infinitesimal insignificance compared to the overall policy framework of territorial regions of Northern Italy (within the general framework of governance of the choices of our metropolitan area and inter-regional) are still very significant and important, even within the narrow concerns, because the decisions will be taken once faced and then translated into decisions administrative produce huge effects and unpredictable quando riverberati negli anni a venire negli ambiti territorialmente più vasti della sua centralità.

Lesa sotto la neve - dicembre 2010.
(tutte le fotografie di questo articolo, che illustrano Lesa dopo la prima nevicata invernale, sono di Enrico Mercatali)

Quali sono tali questioni?.
Primo: cosa decidere circa il destino, purtroppo già in parte tracciato, della Valle dell'Erno (l'area geografica naturale che la unisce al massiccio montuoso del Mottarone), e quindi del bacino del lago Orta.
Second, how to deal with the completion of the lake, which reflected the impact of its facilities while moderse entire western shore of the Verbano.


seems to be little things, those two things, in the macroeconomic, social and cultural route first, but they are not in the context of the subtle equilibrium that now hold the territorial choices still to be recruited. They all seem a small thing the problems of this nature and extent that the hundreds of small towns across the region first evoked. But, if put together, side by side, they give the measure of the enormity of choice that the citizens of this part of the world should work, and how sia sottile il margine che separa il meglio dal peggio, per tutti noi, se, tutti quanti assieme, si sbagli nel scegliere di qui, piuttosto che di là. E quanto grande sia il rischio di assegnare al futuro un segno negativo, per le future generazioni, se non addirittura per la stessa specie umana.


Consci come siamo di questo pericolo, e di quanto sottile sia tale margine, siamo sempre per dare la preferenza alla ponderazione, alla discussione, all'approfondimento conoscitivo, alla giusta misura piccola piuttosto che a quella grande, magari non adeguatamente centrata.

Casabella, struttura lesiana di accoglienza turistica creativa, sotto la neve dell'inverno 2010-11
(foto di Enrico Mercatali)

Anche se tali due problemi (il destino della Valle dell'Erno e l'assetto definitivo del lungolago) sono assai diversi tra loro, per natura e per dimensione, crediamo che debbano essere affrontati, alla luce di quanto prima abbiamo affermato, allo stesso modo: prendere tempo per dare alle risposte la soluzione più ragionata, quella che raccoglie il maggior numero dei pareri.

Una veduta dell'abitato di Lesa dalla Strada Alta che la congiunge a Belgirate

Credo che, più in particular, the central proposals in the Valley of the hernia should say no, at least so long that those who would like to build, do not give sufficient guarantees that may seem to most towns of headings (but now I do not think that it is still so) . So we welcome that additional investigation. I believe should also be well assessed, however, the problem of summer drought in the villages, which I think is the main counterpart to a public private businnes. Look there the best possible guarantee of success of this part of the program. And of course the careful examination of the impact testing, do not let the sun in the hands of those who made them, but in a variety of hands esperte che esprimano tendenze anche diverse in ambito sovracomunale.

Lesa, un particolare dell'Antico Maniero, risort e ristorante con parco, interno all'abitato

Il problema del lungolago, anche se apparentemente di minore importanza, costituisce il biglietto da visita più evidente di una località che, per tanti buoni motivi, oggi sa attrarre turismo sul suo territorio.
Completare il lungolago a Lesa (la porzione che collega l'edificio della Ex Società Operaia) con il territorio del Comune di Belgirate) significa fondamentalmente tracciare un percorso pedonale (e, se si vuole anche ciclabile) su quella fascia di land separating the state from the shores of the lake, nothing less and nothing more. Because it is already very beautiful way, and needs no additional attractors. It needs, however, implemented in supplementing it.

Amazing view of the Gulf of Lesa, the Word and the Vergante, in a summer night

In this sense, our proposal is to minimize the cost of furnishing a simple and instead grow those relating to the structure that still need to make the connection between the physical state of the Simplon Pass and the banks of the lake. Reduce the number of benches or tables, or any games for children, and initiate the required overhang of bank, where it is lacking, to create the definitive link between the existing promenade and Lesa Belgirate.

victim, by a material along the High Street, behind the townships of Lesage and Belgirate, which connects the two locations upstream

(photo by E. Mercatali)

give similar advice to all municipalities that still need such facilities, so that in a few years can give rise to a cycle-pedestrian path along the entire western shore of Lake Maggiore, a work that will attract as much tourism even we imagine, always know that you intended to be wide and generous in terms of the future.

Lesa, Alice Villa, 1906, now in deplorable neglect.

notebooks will make specific proposals on the same magazine, on how to address the points along that path, that seem to have any chance of seam between the parties already existing, mostly consisting of private property with lake access.

Henry Mercatali
Lesa, January 2011