“Reading Alessandro Tagliolini’s works means reconsidering linguistic and formal experimentations that acquire the value and significance of a linear journey"
Alessandro Tosi, teacher of arts


After completing classical studies, in 1950 Alessandro Tagliolini attended the Faculty of Architecture but abandoned university to devote his time to theatre and journalism. In 1951, he founded "Lo specchio", a monthly journal of contemporary life and culture. In 1953 he enrolled in M. Calkas’s sculpture course at the Accademia di Francia, Rome. In 1955 he visited Caracas where he created his own works and worked as assistant to sculptor G. Gori. On his long journey home, he came into contact with pre-Columbian and Japanese culture which enriched his research on open-space sculpture and garden art. He met the masters of mural painting, D. Rivera, A. Siqueiros and C. Merida. He studied urban art and created several works. Back in Italy, in 1958, he received the Premio per la giovane scultura italiana from the Ministry of Public Education for his work "Gli Amanti". He executed fountains in Rome, made of pre-fabricated and variably combined elements, and cement high-reliefs for the gardens of new residential neighbourhoods. 

In 1963 he held solo exhibitions at Galleria Spectrum in Rome, Galleria Seta in Sao Paulo and at the Italian Institute for Culture in Rio de Janeiro. In Brazil he discovered Burle Marx’s gardens and studied architecture and contemporary sculpture in depth. In 1967-1968 he exhibited at Galleria Misrachi in Mexico City, Galleria Fiamma Vigo in Rome and Galleria Numero in Florence where he met the landscapist Pietro Porcinai. In 1968 he started a teaching career at the State Institute for Cinematography and Television and at the Art School; he stopped teaching in 1986 to fully devote himself to sculpture and garden art. In 1968 he was awarded the works for the Financial Offices in Massa and for the Civil Engineering offices in Pistoia. He also worked on a number of settings: Paul Claudel’s "Annonce Faite a Marie", Miguel de Cervante’s "Entremeses" and Bela Bartok’s "Bluebeard’s Castle" with Gruppo H of Rome. In 1971, he was awarded the creation of 8 play sculptures for the "Sante Zennaro" High School for Psychological and Sociological Studies of Imola.

He exhibited his drawings, bronze, marble and steel sculptures and documentation regarding his interventions in the public spaces at Galleria Il Collezionista, Rome. A similar exhibition was held in Milan at Galleria Levi in 1973, the year in which he founded, along with Rosario Assunto, the Archivio Italiano dell'Arte dei Giardini in S.Quirico d'Orcia. In 1974-1976 he created the "Monument to the Unity of Sudan" in Khartoum, depicted on Sudanese banknotes, and the "Monument to Sudanese Martyrs" in Omdurman, for the Democratic Republic of Sudan. The works were produced at Laboratorio Ettore Mariani and Fonderia Tommasi in Pietrasanta. In 1980 he published "I giardini di Roma" and won the Premio 'Un libro per Roma'.

Upon invitation of Porcinai, he became a member of the Italian Association of Landscape Architects, devoting himself to garden design, landscaping and the restoration of historic gardens. In 1985, he founded the Centro Studi Giardini Storici e Contemporanei, acting as President until 1998. The centre promotes biennial conferences and is an important point of reference for its rich bibliographical and documentary records regarding gardens. In 1988, he published "La storia del Giardino italiano" in which, thanks to an extensive collection of sources, he explains the transformation of the concept of garden within the wider context of landscape; in 1988-1990 he designed the Parco delle Terme in Sciacca and created polychrome marble intarsias, gardens and fountains for the Republic of Uganda.
In 1989 he published "Il giardino italiano dell'Ottocento" and in 1991 "Il giardino europeo del Novecento".

Among his solo exhibitions: "Forme nel Verde", Horti Leonini, San Quirico d'Orcia, presented by Alain Jouffroy (1991, group exhibitions, 1971-1973, 1977, 1995); former Convent of S. Francesco and Parco delle Terme, Sciacca for the X Art Exposition "Un punto nel Mediterraneo" 1993; introduction by Jean Paul Guibbert; Meyerson Hall, University of Pennsylvania, Philadelphia 1995; Villa Giulia, Verbania 2005.

He has taken part in several group exhibitions, including: "II Mostra Nazionale d'Arte Giovanile" 1958, Rome; "IX Mostra Nazionale delle Arti Figurative" 1958, Avezzano; Collettiva allo Studio 12, Rome 1968; VI Biennale d'Arte, Rome 1968; V Premio Reno-Tevere, Cologne 1969; Biennale del Deporte en las Bellas Artes, Madrid 1969; "Forme di Cemento" 1988, Rome; "Scultori di Pietrasanta" 1994, Pietrasanta/San Gilles, Brussels; "Italian Landscapists of the XX century" 1995, Barcelona; "Luce d'inverno. Omaggio alla terra scolpita" 1995-1996, Ponte Ronca di Zola Pedrosa; "Le sembianze del mito, Scultori a S. Giovanni in Persiceto" 1996, S. Giovanni in Persiceto; "Sculture all'aperto" 1996, Associazione Romana Gallerie d'Arte Moderna, Rome; "La forma felice, omaggio agli scultori della Versilia" 1996, Museo Pianeta Azzurro, International Centre for Sculpture, Fregene; "Paesaggisti italiani a Palazzo Boccella", Lucca (20-27 April 1997); "Japan Flora 2000" 2000, Awaji, Japan; "Le avventure della forma. Arte e scienza a confronto" 2000, Arte & città 2000, Municipality of San Giovanni in Persiceto; Lugano November 2000.

His works are held in private and public collections, including the Modern Art Museum of Oya, Japan. In 2003 his work "Prometeo" of 1991 was placed in Piazza IV Novembre, Marina di Pietrasanta. As a landscapist he has worked as consultant for the Municipality of Naples (landscaping of green areas in the historical city centre), for the Parco Virgiliano in Menfi (he designed a new park with fountain and monumental sculpture), for the Parco Inglese of the Reggia di Caserta and the Giardini Segreti of Galleria Borghese, Rome (National Committee of the Ministry of Cultural Heritage and Cultural Activities, 1998). In 1998, he was awarded the restoration of the gardens of the Venaria Reale. He founded and is the director of the magazine "Architettura del Paesaggio" and is a member of the Associazione Italiana di Architettura del Paesaggio landscape architecture association. In 1995 he was invited by the Department of Landscape Architecture of the University of Pennsylvania, Philadelphia to hold a teaching course on contemporary gardens. On this occasion, he exhibited the documentation on his works in Mayerson Hall. In summer 1999 he was invited by the Autonomous University of Mexico to hold a course on "Interfase entre las Artes Plasticas e el Arquitectura del Paisaje". The Modern Art Museum of Oya, Japan, purchased his bronze sculpture "Atlante".

He started visiting Versilia in 1974 and moved permanently to Capezzano Pianore in 1977. He created works at the Ettore Mariani, Giorgio Angeli and Andrea Spadaccini laboratories and at the Tommasi, Tesconi and Versiliese foundries. He has taken part in many shows: "Il passato e la presenza.Per un museo dei bozzetti" 1983, L. Russo Cultural Centre, Pietrasanta; "Il disegno degli scultori" 1988, L. Russo Cultural Centre, Pietrasanta; "Alessandro Tagliolini-Scultura e grafica", L. Russo Cultural Centre (solo exhibition, 1992); "Il disegno degli scultori" 1993, L. Russo Cultural Centre, Pietrasanta; "La luce della pietra" 1994, Pietrasanta; "Il dono dei Magi" 1996-1997, Pietrasanta; "Arte alla Badia", Badia, Camaiore (solo exhibition, 1997); "Il giardino Mediterraneo" 1997, L. Russo Cultural Centre, Pietrasanta; "La porta dell'anima" 1999, Pietrasanta; "Il Volto dell'uomo-L'idea del sacro nella scultura del nuovo millennio" 2000, Villa Gori, Stiava; "Pietrasanta-Sculture & Scultori-Rassegna internazionale di scultura" 2002, Piazza del Duomo, Chiesa and Chiostro di S. Agostino, La Versiliana, Pietrasanta and Marina di Pietrasanta; "Alessandro Tagliolini-Opere 1946-1999", Chiesa di S.Agostino (solo exhibition, 2004); "I segni e le forme-Due passi nell'arte" 2005, historical city centre, Pietrasanta.

The photographs published in the TimeLine were taken from the Museo dei Bozzetti website www.museodeibozzetti.it


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