“Human rights”, or “Cities of the World” will be the title of the novel set in Sicily that Vittorini is…
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It was a significant literary phenomenon in the second half of the twentieth century. Through the words of the greatest writers and journalists of the time, and through the images created by the most famous illustrators and photographers, Pirelli opened itself up to the world, sparking a lively international cultural debate.
Pirelli magazine was not just a unique coming together of writers, journalists, poets, literati, scientists, designers, architects, and intellectuals of the time, for it was also an amazing hothouse of graphic artists, illustrators, photographers, and artists. Artistic research and experimentation went on for decades and can be seen in the covers of Pirelli magazine, which also reflect what was going on in the world of international graphics.
The first to appear in the colophon of the magazine (no. 1, 1955) was Ezio Bonini, a pupil of Albe Steiner, who worked with the Studio Boggeri for over twenty years. Pino Milas was called in to work on five issues in 1963. The sixth and last bore the signature of Massimo Vignelli, barely thirty-two years old. In 1964 the artistic direction was assigned first to Gerhard Forster and then to Pino Tovaglia and Teresita Hangeldian.