Media comunication. History. One man shows. Gallery description. Activities.

1. Press Kit
IGUARNIERI
Index
1.- Iguarnieri
. Bio
. Exhibitions
2.- Critics
. Enrico Zoi
. Leonello Rabatti
. Nadia Bastogi
3.- Te Technique
. 12 Caress
. Sculpture
. Te People– Barberino di Mugello
4.- Te Places
. La Bottega
. Via di rustici
. Chiantiandart
5.- Courses and Lessons
. Afresco
.Acquerello
6.- Note
. By Roberto Guarnieri
7.- Contacts

2. 1. IGUARNIERI
Te Guarnieri brothers: Roberto and Rodolfo were born in Florence in 1956 and 1963,
respectively the former is an architect, the latter ‘maestro d’arte’, they have a workshop in
Florence.
Afer having exhibited their artworks, which are produced by means of using antique
methods (acquired by restoring furniture) and which are placed in the present through use
of modern materials and zeitgeist, in the year 2000 they received good reviews and had
public success.
Teir four-handed work is inspired by the “ideal of the forentine workshop of the
Renaissance“: knowledge of materials, techniques and drawing combined with a constant
interpersonal confrontation of their knowledge and abilities.
Pagina Ufciale: www.iguarnieri.co
E-mail: iguarnieri@gmail.com
Roberto: +39 333 8348277 Rodolfo + 39 335 6129907
Lungarno Benvenutto Cellini 39, 50125 - Firenze
Fan Page: www.facebook.com/artgallerystudioiguarnieri
Tripadvisor Reviews: http://www.tripadvisor.com/Attraction_Review-g187895-d1880439-
ReviewsArt_Gallery_Studio_Iguarnieri-Florence_Tuscany.html

3. Exhibitions
Villa la Montagnola, Greve 2000
Gif Fortezza da Basso, Florence 2001
Gelateria Porta Romana, Florence 2001
Convitto della Calza, Florence 2001
Palazzo Pretorio Certaldo, 2004
Villa La Massa Candeli, Firenze 2004
Cafè Carlot, Le Focette 2004
Factory Bressaglia, Basharage Lussemburgo 2005
Palazzo Orsini, Bomarzo Viterbo
Helvetia e Bristol, Firenze 2006
Whestin Hexcelsior, Firenze 2006
Sovcomfot, Mosca 2007
Biennale of art Sharg iah, Dubai Emirati Arabi 2007
Villa San Michele, Fiesole 2007
Hotel Imperiale, Forte dei Marmi 2007
Roundhouse, Wancouver, Canada Aprile 2008
Villa Agostini Della Seta, Corliano Pisa Maggio2009
Four Season, Hotel Firenze 2009
Scuderie Borboniche, Camaiore 2009
Barbi Hansen House, Trier Germany 2010
Torre Alberghieri, Greve 2010/2014
Castello del Nero, Tavarnelle Val di Pesa 2011
Casa Romeo, Francavilla Marittima 2014
Regency Hotel, Firenze 2006/2014
Castello Banf, Montalcino 2015
Villa La Massa Candeli, Firenze 2015

4. Paintings in public and private collections in Italy and in the World
Abu Dhabi City AE, Andover MA, Alpharetta GA, Asheville NC, Atherton CA , Atlanta
GA, Berkeley CA , Beverly Hills CA, Bonneuil FR, Boston MA, Boulogne FR, Bronxville
NY, Bru- xelles BE, Calabasas CA, Calgary CA, Cancun ME, Carmel CA, Chennai IN,
Cincinnati OH, Collonge-Belrive CH, Cologny CH, Colorado Springs CO, Cremorne
AU, Doha QA, Ed- mont UK, El Paso TX, Les Suves FR, Euerberg DE, Freiburg DE, Fort
Worth TX, Glen Iris AU, Gloucestershire UK, Greenville SC, Greenwich UK, Guildford
AU, Hallandale FL, Hamburg DE, Hamilton CA, Heerlen NL, Hoboken NJ, Hong Kong
HK, Houston TX, Irvine CA, Jarlasa SE, Jersey City NJ, Kennenbunkport ME, Laguna
Beach CA, Lake Ridge VA, Ljungsarp SE, London UK, Los Angeles CA, Louisville KY,
Malaga ES, Malibu CA, Mamaroneck NY, Mel- bourne AU, Metairie LA, Miami FL, Mill
Valley CA, Milwaukee WI, Morgantown WV, Mon- treal CA, Moscow RU, Muenchen
DE, Naples FL, Nashville TN, Needham MA, New Delhi IN, New York NY, Newtown
CT, North Venice FL, Oklahoma City OK, Paris FR, Pembroke FL, Peoria IL, Phoenix
AZ, Richmond VA, Salt Lake City UT, Saint Davis UK, San Francisco CA, San Juan PR,
SausalitoCA, St. Petersburg RU, Seattle WA, SidneyAU, Southport UK, St. Maxime FR,
Staford UK, SterlingVA, Stockholm SW, Sugar Land TX, Tampa FL, Tel Aviv IL, Tokio
IP, Tomball TX, Toorak AU, Toronto CA, Trier DE, Tucson AZ, Vancouver CA, Victoria
AU, Warren MI, Washington DC, Winchester UK, Nigeria AF.

5. 2.- CRITICS
Being brothers is like a mutual gif. Sometimes it is the cause of disagreement; more ofen it
produces afection and solidarity. In the most fortunate cases it can be synonymous with
imagination and creativity. Of those who have preceded the most illustrious example is that
of the Della Robbia family. However, crossing the borders of expressive disciplines, one
tends to think of the Taviani brothers and their flms, of the Coen brothers, not forgetting
the shared feeling for music o Edoardo and Eugenio Bennato even if it manifests itself in
diferent ways at times, and Arrigo and Camillo Boito in literature. We must not let
ourselves stray from the point. Tere's no time or space for that. Te following should be
said about the Guarnieri brothers: Roberto (that born as an architect) and Rodolfo (that
born as an art master), restorers and splendid wood 'manipulators' - and that's not all. Tey
have a workshop along Lungarno Cellini in Florence (No.39). What did the two brothers
one day simply started to look at the things they had created from a diferent angle and
think that they could face the fascinating and impassable road of artistic ideation. Having
the cultural and poetic basis as well as gifs of trained hands and inspiration the leap ahead
was not too great, it was a direct transition: from the forms of furniture, of interiors, of
design, to those of art and imagination. Te frst result was a successful proliferation of
pieces of work all realized in the fresco medium directly onto wood, turned to, not by magic
but certainly by strong willpower, a coloured surface full of concrete forms (nudes, bicycles,
cars, views of Florence) with two very particular characteristics. Te frst is that of a
futuristic visibility : the works are works in motion, like a portable camera, like a stroke of
the brush that doesn't rest, like a work in progress. Everything is in motion and nothing is
lost. Unity is given by a chromaticism of rare impact and easy combination with the most
intimate insights into the human soul as well as without contradictions a concrete
enjoyability that allows these works to fnd their own meaning in the art gallery, as well as
with the furnishings of a domestic environment. Te second characteristic is that the works
of the Guarnieri brothers are concrete tactile to such an extent that one has to physically
touch them with one?s hand. as if they were the imprint of their most profound, a rich,
fruitful.
Try it and you will see for yourselves
Enrico Zoi

6. Hands, in the magma of the visible
Te “manual” imprint which characterizes the œvre of Roberto and Rodolfo Guarnieri
apparently seems to distinguish itself through the various distances between fgurations of
reality and their representations.Te given natural forms (landscape, human and vegetable
forms) seem metamorphosed and exaggerated, in diferent ways, from the application of a
very original technique of preparation and execution of the work: a type of fresco in progress
applied to many diferent surfaces and capable of a myriad of following interventions until
the fnal version is fxed.Within the skill of the manual gesture the great tradition of the
forentine manual and artistic workshops where the highly imaginative concreteness of the
craf is united with the capability of freely modulating the material by projecting one’s own
inner perceptions onto it has accumulated. Te gradual, clever manipulation the substance
has to undergo (whitewash, pigments and then varnish) at times turns the initial given
natural forms into a sort of “sinopia”: the initial mimesis is still visible in the background
but has taken on the plastic nearly sculptural vitality of the bas-relief and communicates an
expressiveness that is “magma-like” wind, current, furrowed: the dissolving element of the
form that tends to disintegrate into cracks and incisions and is at the same time the unifying
element of the work. It therefore occurs that the delicacy of colours and the sharp contours
of the genuine form are “hardened” by the work completed by the artists on the surface;
however, the modifed material acquires an equally natural beauty by exuding a very strong
“tactile” appeal that induces one to touch the relief of the fnished works.Te stratifed
modulation which is necessary for the realization lends the work a vitality that leaves the
banal evidence of the initial visual stimulus behind and the same efect that sometimes
nearly is hyperrealistic exudes a material vigour nearer to a hand-made object than to the
painted work. In fact it is possible to defne this bizarre creative process as an innovative
blending of the painted signs in their colourful elaboration with their supporting
surface.Tis process isn’t far from the technique used for the realization the bas-relief and
the incisions where a greater “immersion” into the substance is necessary. Te preciousness
and uniqueness of the artistic results show how the profound knowledge of the craf
transfers itself spontaneously into the material that is being dealt with in that it returns an
initial energy to the given genuine object. In the œvre of the Guarnieri brothers therefore
the process that joins the manual and physical gesture with the power of the inner forces
that nourish the artistic action seems to condense itself with surprising clearness. Trough
the flter of personal sensitivity these forces come to infuence the work by having an efect,
smoothing and drawing together the forms of the visible. In some cases it is possible to
describe this process as a sort of intense “regression” in which the fgurative fact is reduced
to a minimum, sometimes made unclear in its fundamental lines.Te “physical quality”
necessary in order to bring the work to life tends to re-absorb the contours of forms, the
objectivity of the given visual facts in the magma-like vagueness from which, however, it
should emerge, nearly realizing a sort of inversion of the creative process. In these works the
representations appear suspended at the point of clear distinction between the given visual
facts and their diminution held in a synthesis in which the sedimentation of the material
tends to disguise, hide, re-immerse the form into the primordial core from which it

7. emerged. Te gesture of the hands completely recovers the legacy of a tradition based on a
solid and irreplaceable experience of live contact with the material which is deeply known
and discerningly elaborated in its innumerable expressive diferences. However, the
sensitivity of the two artists – crafsmen, creating from their inner experimental restlessness,
men that are bound to their own generation renew the experience of the past and restore it
with the vigour of a technique that has become genuine device by means of which a
diferent and more fruitful confrontation with reality occurs.
Leonello Rabatti
Te places and the works of Iguarnieri
As if in emulation of Vasari’s corridor, which crosses the Arno to connect Palazzo Vecchio
and the Ufzi to Palazzo Pitti, there is an ideal bridge uniting the two Florentine “places” of
iguarnieri, on either side of the river. Tese are Porta san Niccolò and Via dei Rustici. It is in
the former that we fnd the historic “bottega” or workshop, where things get done, where
computers and technological apparatus live cheek by jowl with traditional machines and
tools for working in wood, clear signs of a generations-old tradition of crafsmanship. Here
we smell the scent of shavings, of glue and of varnish. Here paintings are leaned up against
the wall or lef out to dry against the parapet of the Arno. It is here that we still breathe the
air of a Florence still proud of her identity, with no artifcial cosmetics.
In Via dei Rustici, in the shadow of the Palazzo della Signoria, but in a spot strangely set
apart from the agitated swarms of tourists thronging the surrounding streets, is the studio-
gallery, the place where things get shown, where the works on display converse between
themselves and their location - an ancient fourteenth-century ground foor chamber
complete with pillars jutting from the walls, but transformed with the good taste and skill of
contemporary architects and designers, qualities clearly evident among the most
outstanding of the arrows in the creative quiver-full of iguarnieri.
Two localities, but in reality one single place giving exemplary proof of a vocation, an
intention to draw on a shared history and tradition, from that frontier between art and
crafsmanship, between invention, technique and practical expertise that has always typifed
the best of Florentine art, though in their case also connecting to the language and the tools
of the contemporary world.
Tere is nothing nostalgic about this approach to re-reading tradition, no sepia atmosphere
or firtation with an idealized past with a view to reviving it. What emerges from the places
and the works of iguarnieri is the outcome of a lengthy determination to re-read, reinterpret
and manipulate the techniques and modes of expression of our artistic history, according to
their own modern sensibility and with the tools provided by modern technology.
Tose who, like me, have had the good fortune to know Iguarnieri from their beginnings,
are struck by the way their artistic career has undergone an extraordinary evolution, while at
the same time being remarkable for consistency of motives and ideas. Far from being a
contradiction, this is distinctive of the artist and his modus operandi, and confers depth to
the expressions of his creativity.
In their works we fnd their study of ancient graphic art, which leads them to stress the

8. essential importance of signs, experimenting with the efects to be obtained from
monochrome, reproducing small works intended for the frail support of paper on a grand
scale and with the techniques of mural painting, resulting in astonishing efects. Here we
fnd the challenge of reinterpreting famous works of Florentine art which have become
dulled by over-exposure in the media, presenting them afresh although through unusual
fragments and perspectives, or using efects and techniques which alter their expressive
impact, turning them into original creations. Here we fnd the reinterpretation of the body
and of simple objects by means of special cuts and the application of material, with
magnifcations which recall the experiments of pop art. We discover fnd the lyricism of
landscapes and seascapes relying on chromatic efects and, again, the essential evocation of
abstract images by the skilfully wrought harmony of lines, colours and materials. And all of
this is achieved within the medium of an expressive and concise sign which becomes the
inner mark scored upon a dense, stratifed material that is almost moulded, that condenses
or loses its compactness in a network of fssures, by means of the combination of diverse
materials, from the simplest and coarsest, such as wood, to the precious plating in gold leaf
which may recall the art of the 14th
century or Art Nouveau.
When it comes to “places”, in fact, Iguarnieri by now made an impact around the globe, such
as the supports for murals set up in Vancouver and Moscow, to mention only the most
outstanding.
But there is one place in particular which certainly represents a crucial step in their artistic
career, and whose important traces can be found in the preparatory models in the bottega
and in the Via dei Rustici studio-gallery. Tese are Le genti, the installation of sculptures
created for the roundabout at Barbarino di Mugello in 2007. Te sculptures here represent
various human types, and the materials used are diverse, each–through the expressive force
proper to it and the fnish designed to catch the light and refect it with multiple efects –
selected with a view to extolling a particular aspect of humanity, the male and the female,
the young and the old, the spirit, the fesh, the white, the black, the gentleness and the
aggressiveness. Here the statues interact with the surrounding countryside, with the
perspective of the roads; they rise like monoliths as from a “contemporary past” or an
“ancient present”, forcefully expressing the ideal of integration and the peaceful cohabitation
of peoples. Tey are as assertive as the idols of archaic cultures, changing with the seasons
and even with the time of day, and from diferent viewpoints.
Here we have the course of a career reassembled, which through the aura of the places and
the works of iguarnieri, speaks to us of a Florence and of artists who have so much to tell us.
Nadia Bastogi (Art Historian)

9. 3.- Te Technique
IGUARNIERI and The Painting
The 12 caresses technique
Dear reader here you may fnd just a few notes about the content and use of our “artist suitcase”
where we draw our painting's clothes.
PREFACE
This written shows our way to work with paintings in the third millennium A.D. using the
techniques of integrated old and modern masters and globalized in a “contemporary do”, where
passion, technology and quotidian research expand the limits of tradition in an open and boundless
process.
0.- The Support
The maximum attention is necessary to choose the support because when the lime plaster is dry it
does not have elasticity, so it's absolutely important to work with a stable surface, without forgetting
the coefcients of thermal expansion, mechanical stress etc.
In the present the suitable types of material for the fresco are extremely various, curled in concrete
walls, concrete slabs, reed, plywood panels, sandwich panels of various materials, crockery, sheets,
plastic or metal nets, etc.
In some cases it is possible, with the right devices on the blocks and on the dough, to work on
canvases, tarpaulins, fabric, fabric non fabric, or other fexible supports in order to make the
transportation of large works possible.
1.- The LIME: Preparation and Application.
We use diferent types of dough depending on the efect that we want to reach.
The lime is used as slaked enriched with glue, kneaded with marble dust and | or river sand.
We can also use others types of dough. That have in their inside cement in relation to the support:
wall, panel, metal, etc.
What's important for us is to have a fat surface of homogenous thickness that allows the draw
incision and lay down the color with slow dry and slow hardering.
According to what we want to achieve, it's important to choose earlier what to use because when
the surface will be dry it could result very diferent rougher, fatter, or more subject to the efect
crackle. So is very important to test the materials, the time and efects obtained, before the actual
use.
In our case, we use a spatula to spread the lime, It can be of various forms, adequate to the
measures that we are handling, we can also use trowels, ladles or other instruments.
Historic Note
The fresco was born in the prehistoric caves of Lascaux as a "spontaneous physiologic
phenomenon" of fxing the color. In the third millennium B.C. in the Aegean islands begins the use
of lime, therefore the wall painting "fresco". Mineral pigments and / or earths are dissolved in water
and spread out on the still wet plaster, thanks to the process of incorporation and carbonation
processes, is obtained with the dry plaster the permanent fxation of the color.

10. 2.- The Engraving
Below the ancient frescoes, we'll often fnd the sinopias that bloom out under the color.
The ancients not having our technology were forced to use preparatory sketches on the wall or on
cardboard to bring out the drawing on the painting surface, since the fresco dries too quickly and
doesn't allow to fnalize drawing's details.
Everything related with the proportions and geometries must be completely taken care of before
starting. We usually do it in a preliminary sketch: on the computer or by testing. When we start to
work everything is already perfectly decided.
The still wet and fresh lime surface comes engraved with the lines that will determinate the idea of
what we want to achieve. They could be lines that just profle the fgures or maybe lines that defne
contrasts or even background lines.
The design has to be recognizable at fnished work; in the end the sketch will reappear in its
immediacy, in its execution speed while keeping the excitement of the gesture.
To etch the lime we use porcupine pens, spatulas, engravers, everything we can use to draw strong
lines
3.- The Color Application
Finished the engraved, we'll start to paint on the still fresh surface. To paint means giving color to
the draw, that could also only mean a monochrome game of light and darkness which helps us to
perceive the depth of the forms or geometries, or the use of diferent colors that enforce the drawing
below. Also a juxtaposition of the diferent tones of the same color. Most of these colors are mineral
colors, oxides or lands. We can also simply use the pigments used in building construction. The
fresco isn't a rigid surface and it doesn't allow color overlay, however, it has thickness, and it can be
exploited to paint in more levels, making the color penetrate, mixing it and giving the dough various
efects, always according to what we want to achieve.
The tools used, range from brushes as “muccino” (round)up to fat ones, we can use hands, fngers,
big brushes and palette knifes.
It is important to understand that the color isn't something unique, so you can work with tempera,
water color, encaustic, with a range of density of colors in order to have very diferent efects.
4.-The Drying
When a table has been treated with lime, the drawing has been engraved and the color has been put,
we need to let it dry. It's necessary to give the lime enough time to let it expel the water in its
interior. At this stage we can give a further contribution to what will be the fnal efect by playing
with the drying speed. This rapidity can create collapse efects to the material and then obtain “the
crackle”.This particular efect of surface cracks can be emphasized or eliminated, it depends on what
kind of dough we used on, the heat source (if it is the sun, a hair dryer, a stove, etc).
5.- The Sand Paper use
This caress is about the process of removing from the painting surface those parts that aren't used
or aren't convincing. The perfectly dried table, presents faws after being painted, just as material
parts in relief on the surface that are derived from the draw engraving.
Using sand paper, spatulas,trowels or sander wood, you can obtain a more/less fat or smooth
surface.
This process also consents to obtain very fat surfaces and to start the grafti work eliminating some
of the previous work. Putting and removing will continue during all stages, this is our basis
technique, to cancel, to cover, to eliminate what was made earlier to make the contradiction become
a certainty afrmation.

11. 6.- The Retouch
We have already discarded the board, we have eliminated the excess parts that wasn't interesting,
and the exceed color parts. Right now we can't really see very well the work, because the contrast
and brightness got lost.
To give freshness, details precision, depth richness back to the board, we can use techniques as
watercolor, tempera, etc.
However, the main idea is adding color to the fresco in order to retouch it, to incorporate the given
color with adds that, without distorting everything, may be of essential importance.
The materials are various just as the tools, and the water is absolutely fundamental. Everything must
always be water based. In some particular cases, besides the water, we can use other solvents that
consent the spreading of the pigments, resins, waxes, lime water, etc.
To extend the color we can use diferent tools, just as brushes, spatulas, sponges, paper. Basically in
the retouches and in the further steps, is fundamental to add/remove the color to get to the
chromatic balance.
7.- The Fixation
We painted and retouched the table, at this point we have to stop the work, not defnitely os course.
This fxation can be more or less important depending on which dough we used; there are
situations where that's not necessary because we didn´t intervene heavily on the surface. On the
contrary other times it is very important to consolidate and stabilize the fresco. The materials can be
various, from natural things as rabbit skin glue, fsh glue, to vinyl resin, varnishes, industrial resin,
etc. We don't have prejudgments nor certainties, we always choose according to what the board
presents, to what we are interested unto at the moment and to what we have this. Could also be a
process made of several passages: before in some parts and after in others; the assembling or fxing
serves to obtain a surface on which we can work again.
8.- The Wax
At this point that our drawing has been, discarded, retouched, fxated. It's time to bring out the
draw. What we decided at the beginning, the graphic, the engraving, the texture, the base structure
of our work must now to back on the sight. We may use one or more colored wax (encaustic) that
will saturate the engraves making the surface smooth, emphasizing the contrasts, just like a reverse
print job. The encaustic preparation is made: with beeswax, essence of turpentine, greek tar, etc. It's
possible to use the encaustic warm or cold, before applying it you may also heat the surface, ( and
also here a world opens up, that according on what we are doing and what we want to obtain, every
time, change.
9.- The Watercolor Wax
We can obtain another small but fundamental add to the work with light glazings, or rather with a
water color wax. What we are looking for at this stage is the color depth given by the various draft
levels. This may allow a very serious work on the details, on the particulars and, sometimes it can be
very simple, but nevertheless sophisticated.
10.- The Coating
Our work has now been treated with encaustic and, when the wax is dry, we can proceed to the
coating surface. Here is where we fnd all of what is related to the old masters work with wood. The
idea of coating is being able to transform something new in a lived and intriguing matter. Bitumen,
clay, wax, earths, etc. help us to transform our opera depending on the application. So the choices,
even extemporary, between materials, to obtain particular efects in order to enhance or hide, darker
or lighter, etc.

12. 11.- The fnal Varnishing
The fnal varnishing is the tie that we put at the end of the painting. Varnishing means protecting,
giving transparency, brilliance, uniformity, defnition. Not all the varnishes are equal, and it's
difcult to obtain a quality one, we often use a long process to obtain varnishes that lead us to
dedicate a lot of time to it's preparation. Our favorites are the Shellac, The Sandarac, The Damar,
an amount of natural or not natural resins that can help giving better uniformity, brightness,
transparency to the painting surface.
12.- The Frame
The fresco is born on a rigid surface, and it often occupies just a part of it so in that case the frame
isn't needed. When we work at the panel, the frame becomes, as for the old masters, an integral part
of the opera. Sometimes even a little uniform outline is enough to frame, in other occasions
passepartouts, golden borders, moldings and carvings are indispensable. In the old Florentine
tradition the masters used to dedicate to the making of the frame the same attention devoted to the
painting.
Conclusions
The other caresses, and the author skills are fnished, now to present the painting are
required other very important caress:
the position and the lighting

13. FOTOGALLERIA
“FIORE E ALBERI” 125 X 220 CM
“PRIMAVERA BOTTICELLI BLU” 80 X 140 CM

14. SCULTURE E BASSORILIEVI
Te tridimensional operas are made in several various materials and technologies.
Wood, marble, stone, granite, metals/precious metals, in plate or fusion, gypsum, clay or
terracotta, plastic materials, resins and polymeric. Traditional handmade work, mechanics
to numeric control.
Te language chosen for sculptures by the workshop is marked by a careful, shrewd,
sophisticated reinterpretation of ancient and contemporary iconoclastic, the simplicity of
the forms and the essentiality of signs, distinguish our labor. Sculptural large scale complex,
small table's sculptures, temporary and permanent installations are made in Italian localities.
FOTOGALLERIA
Busto Greco Venere Fusione
Le Genti (Te People)
Te sculpture complex "Le Genti" for the Miniera Roundabout in Barberino di Mugello, is
the result of four years work. Te frst project, that consisted in a short prose and general
layout of the idea, has undergone a slow development through fresco paintings and wooden
sculptures. Tese studies of sculptures, in general and in each individual fgure, have led to
the creation of various and diferent works of art in terms of diferent kinds of materials and
fnishes. An important piece of work was to provide a technical representation of the entire
project and relative supporting structure. Afer this the photos of the model, the
photomontages on the website, the setting and light tests have allowed for the control and
consolidation of the idea in its parts: individuals/fgures (morphological characters,
dimensions, materials, processes, fnishes, cost), fgures/group (dimensional relations,
prospects, colours), orientation/bases (heights and materials, main points, winds of change,
typical status of the various ages), crest/dams (nature and artifcial, materials and forms),
tank/lake (fence and water, abstraction and refection of light), land/greenery (the sof

15. greenery of the countryside of the valley).
Organisation of the roundabout as the frst work performed, has been defned in detail with
Tommaso and Massimo, by positioning the plinths, the creation of projections on the
ground, positioning of stones and organisation of the land.
Te creation of fgures was not performed in the ofce but in the "Workshop", thanks to the
colalboration with various local and Tuscan production realities, that have created, thanks
to the enthusiasm and skills of each "MAESTRO" Alessandro, Enrico, Fabio, Riccardo and
last but not least, Rodolfo, to experience unique and beautiful periods.
From the materials, the machines, the hands, but also the engineering and culture of work,
the fgures were created in the workshop, until they were ready for their journey towards
installation and their life as sculptures in the middle of a square, to fght against time, under
everybody's eyes.

16. 4.- Te Places
. La Bottega – Te Studio
Lungarno Benvenuto Cellini 39. At the Michelangelo's Piazzale hills foot, in front of the
main monuments of the Florence cittty. A place which date from the year 1944 where all
the Iguarnieri's operas born.

17. . Via dei Rustici
In the hear of the historic center, two steps from the Ufzi. Tis private gallery has a
selection of paintings from the beginning of the frm times until now. Is possible to visit it
by appointment.

18. . Villa Chiantiandart
Chiantiandart arises when Rodolfo, one of the masters ‘Iguarnieri’, decides to transfer part
of the artistic activity carried out for years in the city of Florence in the Chianti area, thus
the name of chiantiandart. Villa Torre Alberghieri, a manor summer residence, with farm
and adjoining dependency, is located between the villages of Strada in Chianti and
Impruneta, overlooking a beautiful valley surrounded by hills and forests. Te really
interesting location (including proximity to the most famous Tuscan art cities like Siena,
Pisa, Lucca, and Florence only 12 km far) allows a rapid access to the main tourist activities
in the region. Te villa hosts the art works of ‘Iguarnieri’, a permanent exhibition of more
than 200 fresco art works and sculptures that stand out, inserted into the 19th century
décor and furnishings of the villa. A 360° view from the tower explains the features of our
territory from a really unusual point of view. It is possible to book and stay both in the villa
and annexes. Moreover, various activities are possible with the artists, frst of all fresco on
panel, but you can also spend a whole day in their company and create an art work, thus
realizing a dream! Te farm produces wines such as Chianti Classico and Supertuscan and
wine tasting created in artistic way is ofered. Torre Alberghieri is a guarantee for a niche
product aimed at true connoisseurs. Expert sommelier are appreciating our productions
since years.

19. 5.- Corsi e Lezioni
Fresco
Iguarnieri ofers courses in painting and fresco . From basic notions with reference to
historical techniques, materials and support provided on site for the construction of its own
fresco under the guidance of one of the masters iguarnieri . Classes are held in the bottega or
the area of Chianti in a nineteenth-century villa
Watercolor
Iguarnieri propose a watercolor painting stage. Basic notions with historical reference to the
technique, material and support provided on site for realize a painting under the guidance
of an Iguarnieri master. Te lessons could be at the Bottega, the are of Chianti in a
nineteenth – century villa.

20. 6.- by Roberto Guarnieri
Iguarnieri do contemporary art in Florence, working as the old masters, what means: “at the
traditional studio”. Mi brother and I with others artist and collaborators we do art operas with
antique and modern techniques, for the art lovers as us that love Italian art and beauty. Te
history, the culture, the experience from the past and our loves, Giotto's Bottega, Botticelli's
damsels, Modigliani's nudes, Picasso's Portraits, Andy Warhol and Te Factory, the Turner's
atmosphere, becoming contemporary art.
It all started in 2000 when we made the frst exhibition of our of fresco painting works, made in
the lab while we kept doing our jobs of furniture and interior architecture. Since then until now
for 15 years we worked in small and large operas all over Italy and abroad also by important
patrons commission. We have received approval and confrmation from privates and
institutions. We have also participated to several painting and sculptures competitions, our
winner operas are now permanently in institutional places in Italy and abroad.
Our idea about we do is that could represent in artistic therms the humanity around us,
dressing it on the forentine way of doing. Te old master's work is the foundation always of
our making art in painting as in sculpture. In our adventure are included all the materials and
occasions.
7.- Contacts
Pagina Ufciale: www.iguarnieri.co
E-mail: iguarnieri@gmail.com
Te.: Roberto: +39 333 8348277 Rodolfo + 39 335 6129907 – Lungarno Benvenutto
Cellini 39, 50125 - Firenze
Fan Page: www.facebook.com/artgallerystudioiguarnieri
Tripadvisor Recensioni: http://www.tripadvisor.com/Attraction_Review-g187895-d1880439-
ReviewsArt_Gallery_Studio_Iguarnieri-Florence_Tuscany.html