Mariano Fortuny Y Madrazo的家庭和博物馆是折衷主义的天才，其照明，时尚，布景设计和室内设计的发明在20世纪初期在威尼斯重新开放。Palazzo Fortuny由建筑师和伟大的剧院指导大师Pier Luigi Pizzi重新设计，再次反映了其所有者的精神，建议许多主题进行学习。
威尼斯的Campo San Beneto，距离Canal Grande沿着Vaporetto的Sant’Angelo站不远。在四月份的一个星期日早晨清晰，平静的空气中，被前一天晚上强的波拉风扫过。Pier Luigi Pizzi是一位出色的意大利剧院方向和布景设计的伟大的大师发现他最新创作的发现，即Museo Fortuny的新内饰。在2019年11月的Acacea Granda洪水中，宫殿终于恢复并重新开放，该洪水严重破坏了其一楼。这项工作是由城市和Fondazione Musei Civici di Venezia的监督，并获得了大量私人资助。自2022年3月9日以来，底层Portego和Palazzo Fortuny的一楼一直向游客开放。有望在6月开放二楼。The new interior design of the entire complex, in collaboration with Gabriella Belli and Chiara Squarcina, aimed to ‘bring Mariano Fortuny home’, as Pizzi fondly says, ‘recovering ahd displaying the incredible heritage of paintings, books, sculptures, objects, clothing, fabrics, lamps, engravings, drawings and models that had been packed away in crates, stored in the Palazzo and the archives.’
A legacy of inestimable value that had been set aside to make room for temporary exhibitions which overshadowed Fortuny’s impact on the Palazzo, which was his home, atelier and factory from 1898 until his death in 1949. Pier Luigi Pizzi has studied and explored the vicissitudes, thoughts, writings and works of Mariano Fortuny, who was born in 1871 in Granada, to bring the spirit of the tireless researcher and creator back to life, at least in a dramatic sense and in the installations in the building. What makes his multiform personality so unusual, according to Pizzi, is his ability to apply practical invention to artistic intuition, in a spirit that is much closer to design than to art. Fortuny drew, engraved, and painted, but above all, he invented procedures and technologies in a variety of fields, from fashion to theatre and interior design, patenting and registering all his inventions. He created pigments and resins, and the machines for printing on cloth that made him famous all over the world: he patented fifty paints (Fortuny temperas), designed clothing styles that have gone down in history, such as the Delphos gown, with his wife Henriette Nigrin, who was also his muse and partner, and came up with the technologies required to pleat the dress. He invented a dome permitting creation of diffuse light effects for a natural atmosphere on stage, including the look of a cloudy sky. He invented lamps made with fabrics, folding tables, and mobile shelves to contain artists’ paints and brushes with a built-in light. He designed and built the furnishings in the Palazzo, the display cases, the library cabinets, the easels: he was an all-round creative artist who surrounded himself with beauty, culture, and ideas in his Palazzo in the centre of Venice.
码头路易吉·皮兹（Pier Luigi Pizzi）将光线带入了底楼的Portego和贵族大厅，其宽度已被揭示，从一侧的一侧到另一侧的窗户，距另一侧43米。随着一天的流逝，自然光已通过建筑师Massimo Gasparon专业设计的照明补充。皮兹说：“大厅已经恢复了时代的精神，当时富裕和他的妻子从这些大厅里收到了来自欧洲各地的朋友，知识分子，艺术家，演员和贵族。在这里，他们向他们展示了自己的作品，谈论业务，并娱乐自己在讨论艺术和诗歌。墙壁上的豪华织物是由Fortuny设计的，窗帘悬挂在天花板上的织物也是如此，就像Fortuny本人在一幅画中描绘了它一样。
大厅的一侧是冬季花园，其中有140平方米的壁画，描绘了花环花环中的若虫，动物区系和有翼的烈酒；另一方面是一系列房间，包括一个时尚大厅，其中包括著名服装，一个装有古老的盔甲，盾牌和头盔的武器厅，激发了他的作品，最亲密的空间：painter’s studio. Pier Luigi Pizzi exhibits his easel with a seat, a self-portrait, the model’s bed, and the sculptures and animal skulls Mariano copied in his still lifes. This is where we feel his presence, more than anywhere else: it looks as if he has just stepped out, in a hurry, leaving an incomplete drawing on his easel.
安东尼拉·加利
所有图像由Archivio Fotografico Fondazione博物馆Civici di Venezia提供
01 Museo Fortuny @ fotografie di Massimo listri
02 Mariano Fortuny Y Madrazo在Palazzo Pesaro degli Orfei图书馆的图书馆（约1940年）
03 Museo Fortuny，胸围和小雕塑。@ fotografie di massimo listri
04 Fortuny Palazzo Fortuny，以前是Pesaro degli Orfei，位于威尼斯Campo San Beneto的Museo Fortuny的故乡。
05 Mariano Fortuny Y Madrazo，佩萨罗·奥菲（Palazzo Pesaro Orfei）的画家工作室，c。1940年，木材上的蛋彩，119 x 132,5厘米。博物馆的收藏。
06 Museo Fortuny，冬季花园， @ fotografie di Massimo listri
07 Museo Fortuny，画家工作室， @ fotografie di Massimo listri
08 Museo Fortuny，1910年Fortuny为L'Esplanade des Invalides设计的Teatro Delle Feste模型， @ fotografie di Massimo listri
09 Mariano Fortuny Y Madrazo，Henriette Fortuny in Pompeii服装的肖像，1935年，木材上的蛋博物馆的收藏。
10 Mariano Fortuny Y Madrazo，静物。Atelier的粉笔，1940年，木材上的蛋
11 Mariano Fortuny Y Madrazo，自画像，c。1935年
