Franco Angeli
Art and nature blend in this suite, where green springs from the paintings to the bathroom to the woods all around. The dolomite boiserie evokes the strength of the mountain and of its people bustling in the village, beyond the large windows. The whirlpool bathtub ensures moments of complete relaxation, to seal with a candle lit dinner in the lovely living area.
- Freestanding whirlpool bathtub
- Mountain-view balcony with large wooden chair and sheepskin leather seat
- High-quality mattresses
- Minibar and safe
- Multilingual Smart TV
- Wooden flooring
- Windowed bathroom
- Dolomia stone details in the room
- Selection of fresh fruit upon arrival
- Pillow menu with a variety of pillows to choose from
- Soft blanket
- Premium courtesy line with natural high-end products
- Kettle with a selection of herbal teas, tea, and coffee
- Comfortable bathrobes, towels, sauna towels, and slippers
- High-speed fiber-optic Wi-Fi connection
- Housekeeping service - twice-daily
- Comfortable shoehorn with brush
- Umbrella
- Mattress topper
- Choice of duvet and full bed setup
- Fabric laundry bag
- Two Montura merino wool blankets
- In-room temperature control
Franco Angeli
Like his brothers Otello and Omero, Giuseppe – his real name – took his surname from his mother Erminia. When she became sick, the very young Franco provided for her by carrying out various jobs. Among these, in particular, was work with an upholsterer, where he learned techniques of shaping and using fabrics and cutouts; techniques he would later use in his artistic works.
Self-taught, he began to paint in 1957, the year he left for military service. During this period, through the acquaintance of sculptor Edgardo Mannucci, he encountered Burri’s Informal Art, whose work fascinated him and inspired the pieces Catrami and E da una Ferita scaturì la Bellezza.
Enrolled in the PCI, he met both Tano Festa and Mario Schifano at the party headquarters. He left the party after the Soviet invasion of Hungary, approaching the extra-parliamentary left-wing movements.
At the end of the 1950s he exhibited for the first time in a group show at the La Salita gallery in Rome, which then hosted his first solo exhibition in 1960, featuring a distinctive mixed technique (oil painting with gauze, bandages, nylon stockings). He illustrated this technique in 1962 in the short film Inquietudine, directed by Mario Carbone.
Angeli’s works represent the violence of contemporary reality, such as Tutti Cattivi i Tedeschi (O.A.S.) and Cuba, 25th July, the latter commemorating the fall of Fascism. Another source of inspiration in the 1960s were the frammenti capitolini, symbols of an eternal Rome—ancient (tombstones, ruins, the Capitoline Wolf) and modern (the hammer and sickle, or even the swastika).
In those years his political commitment was also expressed in a series of dazebao, including Compagno Vietnamita, Berlino ’45, and Occupazione di un Monumento Equestre. After 1968 he protested against the Vietnam War, had a tormented relationship with Marina Ripa di Meana, and made excessive use of drugs and alcohol, joining the group of the “Cursed Artists” of the Scuola di Piazza del Popolo.
He also embraced photography, mainly in black and white, portraying above all his circle of friends, including Tano Festa, Achille Bonito Oliva, Sandro Penna, and Jannis Kounellis. He also appeared in the 1968 film Morire Gratis.
His artistic and political commitment continued with the landscape series Dagli Appennini alle Ande, inspired by the military coup in Chile, as well as Compagni, Vietcong, and other works following the Greek military junta.
He married in 1975, and the following year his daughter Maria was born. In 1978 he took part in the Venice Biennale. Later, his subjects included deserted squares, steeples, capitals, and puppets in the form of self-portraits—a recurring theme interpreted as an accompaniment to his death, which occurred in Rome in 1988.
“When a person has a profound malaise he has to look for a way not to be alone anymore; Ultimately, there must be an interest that accompanies him for life.”
Franco Angeli
Like his brothers Otello and Omero, Giuseppe – his real name – took his surname from his mother Erminia. When she became sick, the very young Franco provided for her by carrying out various jobs. Among these, in particular, was work with an upholsterer, where he learned techniques of shaping and using fabrics and cutouts; techniques he would later use in his artistic works.
Self-taught, he began to paint in 1957, the year he left for military service. During this period, through the acquaintance of sculptor Edgardo Mannucci, he encountered Burri’s Informal Art, whose work fascinated him and inspired the pieces Catrami and E da una Ferita scaturì la Bellezza.
Enrolled in the PCI, he met both Tano Festa and Mario Schifano at the party headquarters. He left the party after the Soviet invasion of Hungary, approaching the extra-parliamentary left-wing movements.
At the end of the 1950s he exhibited for the first time in a group show at the La Salita gallery in Rome, which then hosted his first solo exhibition in 1960, featuring a distinctive mixed technique (oil painting with gauze, bandages, nylon stockings). He illustrated this technique in 1962 in the short film Inquietudine, directed by Mario Carbone.
Angeli’s works represent the violence of contemporary reality, such as Tutti Cattivi i Tedeschi (O.A.S.) and Cuba, 25th July, the latter commemorating the fall of Fascism. Another source of inspiration in the 1960s were the frammenti capitolini, symbols of an eternal Rome—ancient (tombstones, ruins, the Capitoline Wolf) and modern (the hammer and sickle, or even the swastika).
In those years his political commitment was also expressed in a series of dazebao, including Compagno Vietnamita, Berlino ’45, and Occupazione di un Monumento Equestre. After 1968 he protested against the Vietnam War, had a tormented relationship with Marina Ripa di Meana, and made excessive use of drugs and alcohol, joining the group of the “Cursed Artists” of the Scuola di Piazza del Popolo.
He also embraced photography, mainly in black and white, portraying above all his circle of friends, including Tano Festa, Achille Bonito Oliva, Sandro Penna, and Jannis Kounellis. He also appeared in the 1968 film Morire Gratis.
His artistic and political commitment continued with the landscape series Dagli Appennini alle Ande, inspired by the military coup in Chile, as well as Compagni, Vietcong, and other works following the Greek military junta.
He married in 1975, and the following year his daughter Maria was born. In 1978 he took part in the Venice Biennale. Later, his subjects included deserted squares, steeples, capitals, and puppets in the form of self-portraits—a recurring theme interpreted as an accompaniment to his death, which occurred in Rome in 1988.
“When a person has a profound malaise he has to look for a way not to be alone anymore; Ultimately, there must be an interest that accompanies him for life.”
