Fortunato Depero (1892 – 1960) was an Italian futurist painter, writer, sculptor and graphic designer. Depero grew up in Rovereto and it was there he first began exhibiting his works, while serving as an apprentice to a marble worker. It was on a 1913 trip to Florence that he discovered a copy of the paper Lacerba and an article by one of the founders of the futurism movement, Filippo Tommaso Marinetti. Depero was inspired, and in 1914 moved to Rome and met fellow futurist Giacomo Balla.
In 1919 Depero founded the "Casa d'Arte Futurista" (House of Futurist Art), which specialized in producing toys, tapestries and furniture in the futurist style. In 1925 he represented the futurists at the Exposition Internationale des Arts Décoratifs et Industriels Modernes (International Exposition of Modern Industrial and Decorative Arts), and presented a Futurist Hall at the Monza Biennial.
1928 saw Depero move to New York City, where he experienced a degree of success, doing costumes for stage productions and designing covers for magazines including MovieMaker, The New Yorker and Vogue, among others. He also dabbled in interior design during his stay, working on two restaurants which were later demolished to make way for the Rockefeller Center. He also did work for the New York Daily News and Macy's, and built a house on 23rd Street. In 1930 he returned to Italy.
In the 1930s and 40s Depero continued working, although due to futurism being linked with fascism, the movement started to wane. One of the projects he was involved in during this time was Dinamo magazine, which he founded and directed. After the end of the Second World War, Depero had trouble with authorities in Europe and in 1947 decided to try New York again. This time he found the reception not quite as welcoming. One of his achievements on his second stay in the United States was the publication of So I Think, So I Paint, a translation of his autobiography initially released in 1940: Fortunato Depero nelle opere e nella vita (literally, Fortunato Depero, his works and his life). From the winter of 1947 to late October 1949 he lived in a cottage in New Milford, Connecticut, relaxing and continuing with his long-standing plans to open a museum. His host was William Hillman, an associate of the then-President, Harry S. Truman.
After New Milford, Depero returned to Rovereto, where he would live out his days. In August 1959 Galleria Museo Depero opened, fulfilling one of his long-term ambitions. On November 29, 1960, after being ill with diabetes and spending the last two years unable to paint due to hemiparesis.
© 2019. All images are copyrighted © by Fortunato Depero or assignee. Apart from fair dealing for the purpose of private study, research, criticism or review as permitted under the Copyright Act, the use of any image from this site is prohibited unless prior written permission is obtained. All images used for illustrative purposes only.
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Mr Fortunato Depero, Self-portrait with grimace, Rome, 11 November 1915 |
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La toga e il tarlo” [The Toga and the Woodworm], Ballerina |
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1915, omplesso plastico motorumorista a luminosità colorate e spruzzatori [Kinetic and Noise-Producing Ensembles] |
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1915, Untitled |
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1916, stage set for “Rossignol” (Reconstruction) |
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1916, two designs for the Mandarin in Stravinsky’s “Le Rossignol” |
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1918, I miei balli plastici [My Plastic Dances] |
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1920, Vogue |
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1921, Fantasia per il Cabaret del Diavolo |
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1921, Selvaggi rossi e neri” [Red and Black Savages], from “I balli plastici” [Plastic Ballets] |
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1921, stage design for “I balli plastici” [Plastic Ballets] |
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1923, La chiesa di Lizzana [The Church of Lizzana] |
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1923, stage set for “Anihccam del 3000” [Enihcam of 3000] |
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1923-24, Bagnanti |
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1925, Depero futuristic art |
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1925, Guerra-Festa (War-party) |
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1926, L'Aratura |
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1927, Depero Futurista |
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1927, Campari advertising |
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1927, Corsa ad angolo retto (At a right angle race) |
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1927, Festa della sedia |
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1927, Poster Campari "Il bevitore" |
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1929, De Marinis & Lorie, logo |
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1930, Grattacieli e tunnel |
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1930, The New Babel |
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1930, Vanity Fair cover |
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1931, Campari |
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1931, Pencil-woman for Venus Pencil |
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1931, Vanity Fair Cover Featuring Two Wealthy Men |
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1932 bottle design for Campari Soda (still in production) |
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1934, Alpine stones |
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1934-35,m Grattacieli e tunnel |
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1936-39, Elasticità di gatti |
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1944, Notturno alpestre |
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1946, Simultaneità metropolitane |
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1947, Gas apparecchi Fargas |
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1947, Vampe Galoppanti |
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Campari’s 2014 Art Labels collection features artworks by Fortunato Depero |
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