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of the Cantagalli would never accept it. And so it was; nations, in particular with France and Austria. What
facing the complete refusal of his request, Fantoni did followed was a re-reading in a current note of formal
not back down, thus giving up an opportunity that, at and chromatic solutions which could be adopted also
the moment, in his condition, no one would have by the ceramic arts.
refused. This caused him quite a few problems, not the The idea of bringing his own production to life at
least of which in the bosom of his family.His father was all costs responded, therefore, to Fantoni’s need not to
so vexed that only after a few years, when the first subject his very creativity to the out-of-date stylistic
important success came, did it pass. He then said that and compositional cannons that he would have had to
his young man, although a bit brazen, was right to respect, at least in part, if he had accepted the position
pursue precisely the idea of creating of his own at the Cantagalli ( that furthermore, also because of this
trademark. closure toward modernity, was beginning it’s slow but
From this stand point, while still a student at Porta inevitable decline). It was the 1930’s: the years in which
Romana, Fantoni had outfitted the basement of the Giò Ponti, from the pages of Domus, urged both artists
house in Via Puccinotti, where he had moved to with and manufactures alike toward the contemporary
his family from Via Palazzuolo,with a modest workshop innovations in ceramic art and to shun the so tired and
where he modeled small sculptures and vases. But, not tedious late 1800’s reproductions in all their forms and
having a kiln, he took his creations to be fired in the variations. But these forms, nevertheless, continued to
Zaccagnini Factory kilns in Piazza Pier Vettori. The have a certain economic success, which, in fact, was
production was therefore limited to objects that were of hindering the creation of new and bold forms of
small enough dimension to be transported by bicycle, beauty, much more in harmony with the aesthetic
risking breakage and abrasions. Once finished, Fantoni sentiments that were being expressed in the “fine”arts.
presented them for sale to friends and acquaintances. In reality, the concept of modernity,“modernolariato”
He even went from door to door in attempts to sell to use a neologism coined by Boccioni, is by this time
them. In his indeed precarious situation, we can well prevalent in the artistic circles of the avant-garde, and
understand that Fantoni’s father did not support his determined Marcello Fantoni’s stylistic choices from his
choice to refuse the offer made by Cantagalli. But, that very first works.
which was unthinkable for his family, was all too clear The need, therefore, for modernity and the
in Marcello’s intentions. Still today, he isn’t able to consequent necessity to place young designers at the
exactly describe that period of his life. He recognizes head of production, was felt by the lawyer Baduel,
the fact the his mind was still in evolution,and he made owner of a factory in Perugia, who called Fantoni to
choices quite based on instinct. But, he remembers join his company in 1935. This was an extremely
perfectly that something was pushing him on ahead important experience for Fantoni which tested for the
along his solitary course, and his iron will sustained him first time his ability to relate to workers who were
even when everything seemed to go wrong. required to follow his direction. It was a successful test
In reality, everything was born out of Fantoni’s which would, in the following years, be repeated when
will, present in him from the very beginning of his he was to become the owner of his own factory with
artistic experience, to create a type of ceramics that did fifty employees. The experience in Perugia did not,
not adhere to criteria in contrast with modernism, but however, last longer than a few months because the
that would be capable, on the contrary, of opening a factory was forced to close following economic
passage through the wall of stagnant language to which sanctions placed on Italy during the war with Ethiopia.
so much of the industry between Sesto Fiorentino and Returning from Perugia, Fantoni worked for a
Florence stubbornly remained attached. Some of few months at the Milan Triennial. Then, reestablishing
whom still produced copies of Della Robbia, himself in Florence definitively, he continued to work
Renaissance, and Hispanic-Moorish forms. This was a in his workshop in the basement of the house on Via
Florence recalcitrant to gamble on experimentation, Puccinotti until a friend of his father’s, noting the
lead by men who completely distrusted that modernity quality of the objects produce and his professional
which animated, by contract, such cities as Milan,Turin attitude, came forward with an offer to lend him the
and Rome. money necessary to open a more professional studio.
The nostalgic restrictions of past glories together Taken by an understandable enthusiasm, Fantoni
with a dominating xenophobia was all the more immediately went in search of a appropriate location
sustained by the ruling Fascist regime. And only during and bought a kiln for firing ceramics for 1,000 lire in
the Biennial and Triennial, ( in which Fantoni often Montelupo,when suddenly,his father’s friend withdrew
participated since the years immediately following his offer to help. Finding himself in a situation that he
Porta Romana), the providential vehicle of liberation couldn’t back out of,seeing that he had already pledged
from that sort of stylistic dictat, was it possible for artists part of the capital promised to him, Fantoni resorted to
and collectors to have an open exchange with other asking a family member for help who could,

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