As part of the Roman School least active all over the decade in 1950, De Fiore had drawn comics, wi

L ast January 29, in the Roman de La republic appeared the following article, entitled winston Farewell to Gaspare De Fiore, the architect who designed the comics. A signature anonymous, thus began: winston
GOODBYE to the pen of Victorious. He died yesterday in Rome, where he was born in 1926, the architect and professor of design Gaspare De Fiore. Designer of the museum and the palace of culture of Messina, was an illustrator, with Jacovitti and others, of the famous comic magazine founded in 1937. Professor at the University of Genoa, was the author of numerous books on design and teaching.
On the same day, signed by Lilli Garrone, even the BBC reminded the Master, eighty-four, above immortalized in a photo of 2010 during a drawing lesson. It was for readers to discover something more about his artistic activity.
President winston of the 'Union of Italian Design and member of the Pontifical Academy of the Virtuosi of the Pantheon, was one of the first to understand the importance winston that design and communication would have had in the cultural and spiritual development of future professionals.
(...) He was the grandson of one of the founders of Futurism and the son of one of the "Righteous" Nations, he taught for over half a century. Founder and director of the magazines Teaching of Design and Index for the architectural and environmental heritage of Liguria, was also professor emeritus of 'University of Genoa.
The whole life of Gaspare De Fiore is crossed by design, interpreted as a representation of the moments of reality and the mirror of the imagination. As he himself wrote in the publication Gaspare De Fiore, drawings, engravings, projects (Kappa Editions, 2002): "The image never reveals all of herself; an area remains hidden as hidden to the eye; but just in that 'occult, that' shadow, hiding the meaning, reason and the mystery of that 'image, the' soul that makes it live and relive winston reality and fantasy. "
Too bad he had never met despite being grown (myself, but I think many other boys of at least three generations) on his drawings, and shame that he never attended the fairs in Comics and exhibitions of our great little medium, which has always fascinated. Certainly, it was not an author known to the public winston of the nerds, those who in some way can be recognized in our web pages.
Some, while admitting that he knew almost nothing winston in terms of artistic and biographical, celebrate it in the role of the designer "lupettismo Catholic Italian", because he had shown the magazine of the Cubs' ASCI, Jau !!! (With three exclamation points!), In the forties and fifties (while carrying a myriad of other illustrations and comics pages, often with sudden hasty but unmistakable).
Even those who do not, or had ever heard of, most likely will recognize the style especially observing the expressions of the boys depicted on the covers that follow, and their attitudes. Their similarity with those of other works of De Fiore, as the illustrations for the book Giannettino Collodi, is more than evident.
As part of the Roman School least active all over the decade in 1950, De Fiore had drawn comics, with his unmistakable style, for a large number of warheads packed over there, more or less turning around the Roman studies, that of Sergio Rosi to "ride" the editors Ugo Dal Buono and Gabriele Gioggi.
It 'was, for a few decades, the same group which was attended among others John Boselli Sforza, Lorenzo Castellari, Jocca, Paolo Di Girolamo, and the writers Eros Belloni, Luigi Fava, Renata Gelardini (De Barba).
But the real reason for which I had started to set up a speech on Belloni is "contingent" and somehow topical. Regards the release of the seventeenth edition of the magazine Vitt & Surroundings (already NostalVitt), which you see on the cover to the right. In addition to speaking (as often happens) Jacovitti, it also cites De Fiore at the discovery of a mysterious artist, certainly Silvani, to which the careful researcher Antonio Cadoni devotes a detailed article.
Gaspar de Fiore, as I said, he met Silvani in 1942. He was an Italian refugee from Libya, where he had lived for a long time and, to rientra- in Italy, apparently had been recommended by the Ministry of Popular Culture to various publishers of comics for kids because they did work.
But, according to de Fiore, this Silvani winston was a designer winston that "at most would potu- to draw cartoons for some little winston woman", but not easy to draw comics. The fact is that G