Poloniato/Polloniato – A family of ceramists in Nove

The exhibition presents the ceramic achievements of several generations of members of the Poloniato/Polloniato families over the last century. Through a careful selection of works, the exhibition traces the decorative and plastic activity in the field of craftsmanship, in particular in relation to the Barettoni manufacture, formerly Antonibon, but also more recent artistic research. It will therefore be possible to see works by the various Poloniato/Polloniato, starting with historical figures such as Giovanni, Luigi, Giulio, Domenico and Aldo, and moving on to those who are still working today: Loretta, Flavio, Diego, Marco Maria, POL and Giulio (second in name). As stated in the presentation in the exhibition: ‘The history of the town of Nove is recent and the name itself reveals it: those terrae novae reclaimed and cultivated near the river Brenta in times of which memory has been lost. Born as a small rural community in the Veneto countryside, building and exploiting the water channels that run through it, the economy later evolved, favouring, among other things, the manufacture of artistic ceramics
until recent times.
In this context so far from the limelight and yet long a focal point, especially for earthenware production, there are many families that have contributed to the local manufacturing maturity. The Poloniato/Polloniato family is exactly that: an extended dynasty, present in the historical manufactures with different qualifications, especially the Antonibon then the Barettoni and the Viero. Workers and craftsmen who showed dedication and perseverance, but also the ambition to create something new.
The generations represented in this exhibition, touch on different periods far removed from each other, yet an original common trait remains: they are figures who chose to engage their talents, studying and taking up a local tradition with creative mastery. On the one hand, their ancestors traced countless decorations with a light and sure hand and modelled the most daring forms with equal firmness. Depending on their propensity and the different tasks they have performed, they have developed recognised professional skills and taken them outside the narrow field of work, e.g. in teaching. On the other hand, the latest generations have transcended the customs of craftsmanship by setting their sights on and fostering interaction with other fields of expression. The practice on the material and its declinations between majolica, earthenware, porcelain and others, has been confronted and is present as a conscious design choice that intersects contemporary art and design.
The works on display trace a path that is both chronological and stylistic, giving colour to the styles of the past, personal evolutions and current research. With the quiet constancy and dedication of a common feeling, they present themselves for what they are: a family of passionate and attentive devotees of ceramics.’