ince the late post-war period, the greatest artists from around the world have come to Pietrasanta and turned to the local laboratories for their projects. Masters such as Henry Moore, Jean Hans Arp, Joan Mirò, César in the past and established artists such as Fernando Botero, Giò Pomodoro, Kan Yasuda, today. Sometimes the Municipalities themselves become art promoters by commissioning works to embellish the city. This is the case of the “Monumento a Mazzini”, produced at the Henraux company in 1970 by Pietro Cascella, after the artist had won a contest announced by the Municipality of Milan, or like “Frammento di vuoto I“ by Giò Pomodoro, commissioned by the Municipality of Carbonia in Sardinia for the urban re-qualification of one of the municipality’s piazzas. The monument “Le vie dell’acqua” by Yoshin Ogata, instead, stems from a private initiative by a renowned industrialist and is located in the sculpture park of his foundation, the Fondazione Umberto Severi a Maranello, in the province of Modena.
The production of a work through great clients involves the entire territory birth from an economic-productive and social-cultural point of view.