Loro e Parisini Huber and Vivarelli, Muratore, Grignani and Bonini. He has been manager and catalyst, has piloted and inspired them. His pupils are of varied taste and inclination, their sensibilities differ, they are featherweights or heavyweights in the arena of art. Boggeri has grasped the special talents of each and cul tivated their personal flairs. He has put at their disposition his studio, his paper, ink and equipment, his alphabets and his archives. If a page of Bodoni or a drawing by Matisse hangs on his studio wall, a photograph of a winch, a photomicrograph of an aluminium alloy or a photogram by Meliès, it is obvious that these details, these day-by-day incidentals and casual matters of fact will sooner or later leave their mark on the designs of his collaborators, conditioning their likings in each period, whether for the strict typographical layout or the fauve arabesque, for mechanism or for Klee, or simply for the ironies of bric-a-brac. The consistency of Boggeri's work, of his artistic guidance, springs from the fact that he has always consented to avant-garde trends, while by the exercise of an intellectual discipline conserving his own elegance. It is no easy matter, in the face of the disregard for cultural values daily displayed by the magnates of big business, to maintain a certain fineness of touch, a certain purity and style. If a common denominator is to be found for Boggeri's productions in spite of the many hands that have contributed to them, it is the tendency to asymmetrical composition. There is rarely a centre, but instead a plu rality of focal points. The ellipse, as we know, is a circular curve with two centres; the spiral a curve with an infinity of centres. The resulting com- macchine e impianti per Milano cantieri edili e stradali cave e miniere 7 position is an agglomeration of separate elements, almost always different in character and odd in number. In it the white or the empty space plays the part of a support, a magma on which float the various monads, each like a gap in an iceberg, a cleft in amber or a patch of blue in the sky. This obsession with the presentation of the constituent elements, the spectrum of an object rather than the object itself (and here Boggeri wil lingly resorts to photography, applying with appreciative skill its evocative and persuasive powers), is significant of his optical attitude. In this he is related, in spite of his training, his charm and his nonchalance, to the family 4*4

Graphis de | 1951 | | page 52