Luigi Serafini

Illustrator

Luigi Serafini was born in Rome, Lazio, Italy on August 4th, 1949 and is the Illustrator. At the age of 74, Luigi Serafini biography, profession, age, height, weight, eye color, hair color, build, measurements, education, career, dating/affair, family, news updates, and networth are available.

Date of Birth
August 4, 1949
Nationality
Italy
Place of Birth
Rome, Lazio, Italy
Age
74 years old
Zodiac Sign
Leo
Profession
Architect, Artist, Illustrator, Writer
Luigi Serafini Height, Weight, Eye Color and Hair Color

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Luigi Serafini Life

Luigi Serafini (born 4 August 1949 in Rome) is an Italian artist and designer based in Milan.

He is best known for creating the Codex Seraphinianus, an illustrated encyclopedia of imaginary things in what was believed to be a constructed language.

This work was published in 1981 by Franco Maria Ricci.

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Luigi Serafini Career

Career

Serafini was an architect and designer in Milan during the 1980s. His objects were often characterized by a metalanguage ability, such as the chairs Santa and Suspiral, or the lamps and the glass for Artemide. He has designed scenery, lighting, and costumes for Frederick Ashton's ballet "The Jazz Calendar" and has also worked at Teatro Alla Scala and the Piccolo Teatro di Milano. He has created RAI set design acronyms/logos, and he has collaborated with Federico Fellini on La voce della luna.

He has a ceramics laboratory in Umbria and exhibits his ceramics frequently, particularly in the Netherlands. He has been a visiting artist at the Banff Centre and has exhibited at Fondazione Mudima di Milano, the XIII Quadriennale, the Galleria Nazionale Modern Art (National Gallery of Modern Art), in Rome, Futurama, Chicago, and the Didael Gallery in Milan. Carpe Diem, a polychrome bronze sculpture by Enrique Berm, and other bas-reliefs for Naples' Materdei subway station. He completed a polychrome installation "Balançoires sans Frontières" (Altalene senza Frontiere) in Castasegna, Switzerland, in July 2008.

In May 2007, he held Luna Pace, a "ontological exhibition" at PAC in Milan. His work has been featured in numerous Italian media and art magazines.

In 1981, the Codex Seraphinianus was first published in a limited edition of 5000 copies. It has been reprinted on five occasions, first in a 1983 English language edition; then in Spanish and French in the 1990s; and then in a small number of 5000 copies each; and finally in more widely printed editions in 2006 and 2013. Serafini also released a limited edition of 600 copies in 2013 in a deluxe, signed and numbered limited series.

(300 in English and 300 in Italian)

Roland Barthes was interested in the Codex. Italo Calvino wrote an essay about it in 1984, which can be found in Mondadori's Collezione di sabbia (Sand Collection). Philippe Decouflé, a French choreographer, was inspired by it. Douglas Hofstadter wrote about it at length.

Serafini said that there is no meaning behind the Codex's script, which is asemic; that his own experience in writing it was closely related to automatic writing; and that what he wanted to convey to the reader was the sensation that children feel in front of books they don't fully understand; nevertheless, their writing does make sense for grown-ups.

Serafini created Pulcinellopedia (piccola), under the pseudonym P. Cetrulo (published by Longanesi), as well as a series of pencil drawings regarding the Neapolitan masque of Pulcinella. In 2016, it was reprinted again.

Serafini's book Luna-Pac: Serafini's Italian retrospective, is the only comprehensive collection of his oil paintings, drawings, sculptures, performances, and landscape art.

Serafini has also illustrated books, including an edition of Franz Kafka's "In the Penal Colony" by Franz Kafka's book "In the Penal Colony" by Franz Kafka and an 1988 book entitled Etimologiario by Maria Sebregondi in the style similar to the Pulcinellopedia. Serafini illustrated Le Storie Naturali, a reinterpretation of Jules Renard's reinterpretation of Les Histoires Naturelles (Nature Stories) in a signed, limited edition of 600. Several pockets in this book have been cut to leaf shape and heavy paper stock.

Other unpublished works and illustrations have been attributed to exist, but not all art exhibits are available or publicly catalogued, from clay figurines to plastic and polychrome sculpture to furniture and small installations. Serafini's first website, www.ignegizerafini.com, was launched in the mid-2000s, but now it only shows a blank page.

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