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Museum of Ceramic
Established in 1994, the Giuseppe Gianetti Museum is housed within a villa dating back to 1940, which was once the residence of Nina Biffi, who was Giuseppe Gianetti's wife.

Preserving intact are original elements of its era within the villa, such as floors, parquet, marbles, staircases, fixtures, furnishings, artworks, mirrors, Murano glass chandeliers, bathrooms with accessories, and even the light switches

Collection
The Museum collection is divided into three different sections

First Collection
The first and most substantial gathers approximately 200 pieces of porcelain, produced from the 1720s to the early decades of the 19th century in Meissen, Germany.

Second Collection
In the second section, various Italian, European, and oriental porcelains are on display. Stand out among the Italian manufactories, noteworthy ones include Hewelcke, Vezzi, Ginori, and Capodimonte. From Vienna, Ludwigsburg, Kloster Veilsdorf, Zurich, Saint Cloud, Chantilly, Mennecy, Vincennes-Sèvres, Tournai, and Chelsea, there are 65 pieces regarding European manufactories. The oriental section, instead, consists of 33 Chinese and Japanese pieces created by the East India Company specifically for the Western market

Third Collection
The third section, dedicated to 18th-century Italian and European maiolica, comprises the primary nucleus of approximately 230 Milan's pieces

reference 1: https://www.museomils.it/nina-biffi/

date = lunedì 11 giugno 2007

Sections = La Città | Storia e Tradizioni | Musei | MUSEO GIUSEPPE GIANETTI - Introduzione

Comune di Saronno

Giannetti

Museum's Sections
The museum is partitioned into nine distinct sections, each designated to accommodate a specific collection. These sections are separated into five segments dedicated to the varied typologies and origins of porcelain (Oriental, Meissen, European, Italian, and contemporary), while the remaining four are devoted to the diverse classifications of Maiolica (Milanese, Italian, European, and the Chamber of the Triton)

Room 1 - Oriental Porcelains
During the late 1800s, Europe experienced a widespread fascination with Japanese art and culture called Japonisme. This led to a surge in the popularity of Chinese and Japanese ceramics in affluent European homes and gatherings in cities like Milan, Genoa, and Venice. Gianetti also indulged in acquiring 18th-century Oriental porcelain from both China and Japan, although his main interest remained in European ceramics.

* 1 image of oriental porcelain*

Room 2 - Meissen Porcelains
In the Western world, porcelain production was discovered in Meissen near Dresden, Saxony, through the efforts of Johann Friedrich Böttgerand with the support of Augustus II, Elector of Saxony. The first European porcelain factory was established in Meissen in 1710, but the manufacturing method remained a secret until 1719 when it was acquired and spread across Europe. * 1 image of Meissen Porcelain

Room 3 and Room 4 - Italian and European Porcelains
During the 18th century, the technique for making hard-paste porcelain spread across Europe as skilled workers left Meissen, carrying secret methods, and chemists found kaolin-rich clays elsewhere. Various factories arose under different European courts, evolving as entrepreneurs established factories driven by industrial goals.

In Italy, the absence of pure kaolin quarries prevents the country's porcelain from matching the material quality of German or French counterparts, although Italian porcelain holds its own in terms of artistic merit. The best Italian kaolin quarry is situated in Veneto, near Vicenza, leading to a concentration of porcelain manufacturing in that region, including Venice, Nove, Este, and Treviso.

* 1 image for European*

* 1 image for Italian*

Room 5, 6 and 7 - Italian and European Maiolica
In the 18th century, fine majolica production thrived across multiple Italian regions. Notably, centers like Ferniani in Faenza, Clerici in Milan, Rubati in Turin, Finck in Bologna, Casali and Callegari in Pesaro, Roletti in Urbino, Fuina in Castelli, Cialli in Rome, and Barone Malvica's workshop in Palermo marked this era. Even major porcelain factories like Ginori and Cozzi had adjoining workshops for majolica. These workshops exchanged design ideas, leading to shared decorative patterns.

These workshops exchanged design ideas, leading to shared decorative patterns. For instance, motifs like "blanser" from Novese origins appeared in Bologna and Urbino majolica. Similarly, motifs like "fruit decorations," perhaps influenced by Lombardian models, appeared in Milan and Nove. The French-inspired "Berain-style" decorations, albeit with variations, were also seen in majolica from various origins.

* 1 image of Italian*

* 1 image of European*

* 1 image of Milanese*

Room 8 - Contemporary Porcelains
Since the inception of the Artemondo Gallery, the Museum has graciously assembled a collection of contemporary ceramics, endeavoring to cultivate scholarly exploration and meaningful discourse in conjunction with the esteemed masterpieces from its 18th-century collection

Room 9 - Chamber of Triton
The lavatory on the upper floor presents a modest yet luminous space bedecked with grand slabs of Siena's yellow marble gracing the walls, while the floor boasts the exquisite black African marble. Above, the barrel-vaulted ceiling is adorned with stucco craftsmanship depicting the majestic presence of a Triton.