Museum Fingesten
Visions,
Signs,
Identity
The establishment of a museum library linked to the name of Michel Fingesten in the Municipality of Cerisano represents an initiative of great cultural and academic value, both for the valorization of artistic and historical heritage and for the potential educational and scientific impact.
The design idea is elaborated by the Istituto Calabrese per la Storia dell’Antifascismo e dell’Italia Contemporanea, in the person of Prof. Carlo FANELLI
The figure of Michel Fingesten
Michel Fingesten, a Jewish-Austrian artist, is a figure who deserves to be known and celebrated for his unique contribution to 20th century art. Arrested on 9 October 1940 and interned as a foreigner in the camp of Civitella del Tronto and then in that of Ferramonti since November 1941. He will be accused by the Nazis of painting degenerate art («Entarte Kunst»). He died on 8 October 1943, after the release of the Ferramonti camp by the allies, due to an infection following a surgical operation carried out at Palazzo Sersale in Cerisano, at that time used as a hospital. His remains rest in the cemetery of the small village of the Costine greenhouses.
Known for his xylographies, Fingesten was a witness to the dramatic historical events related to World War II, the persecution of Jews and the Holocaust. His art not only represents a point of great technical innovation (especially in xylography, which is one of the most complex artistic forms), but is also a powerful means of reflection on human suffering, resistance and historical memory.
The Ex Libris
The ex libris are small works of art, usually engraved on paper or wood, that were applied inside the covers of the books to indicate their owner. Their main function was to customize the volume and protect it from any loss, but over time ex libris have also become real objects of art, particularly appreciated by collectors and scholars. These small engravings, which can take very different forms and styles, often reflect the identity of the owner, his interests, his personality and sometimes his social position. In the history of art, the ex libris have seen the use of different techniques, including xylography, burino engraving, lithography and silkscreen printing.
In the case of Michel Fingesten, the creation of ex libris was a significant part of his artistic production. His works in this field are known for their expressive intensity and for the use of powerful symbols that tell deep stories through visual language. Fingesten used the ex libris not only as an instrument of identification, but also as a means to explore universal themes such as identity, memory, spirituality and human suffering. For this reason, Fingesten’s ex libris is particularly interesting from an artistic and symbolic point of view: These are not mere decorations, but works that, through their iconography and technical refinement, convey complex and often emotionally powerful meanings.
The Collection
On display over 100 works. The collection of graphics produced by Michel Fingesten, artist, born in Opava in the region of Silesia, brilliant and still undervalued, present in the collection of Ivan Matteo Lombardo and now owned by the Municipality of Cerisano, highlights a surprising variety of techniques used in an eclectic and unconventional way.
The examination of the individual specimens included in the collection highlights the numerous techniques of photomechanical engraving and art graphics proper called as, etching and other forms of calcography, not always easy to distinguish: Therefore, very often, except for photomechanical clichés, it is easier to indicate as "calcographies", without further specification, most of these works.
Then there are two large sketches designed by Fingesten with mixed technique, pen and brush ink and white for corrections, then used, reduced in size, for the realization of photo-engravements.
Lombardo was patron of several engravers, including Fingesten, who financed for most of his Italian period, it is therefore evident how a large part of the circulation of multiples and many originals found place in the records of the historical executive of the PSI. The collection of ex libris and prints was assembled from the 1920s until the death of Fingesten.
The signature, present in almost all the specimens, is sure of how these runs have been edited and supervised by Fingesten himself, resulting absolutely coeve to the artist. It is not surprising, therefore, that the printing quality of these sheets is meticulous and shows delicate tonal passages and a evocative gray scale.
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