..
Just
an artist, a creative and art entrepreneur as  Giuseppe
Rossicone (born at Scanno - L'Aquila - in 1933) could start off a laboratory,
better said a ceramics workshop, in Milan at Chiossetto street, in
the post-war historical years, that is in the years Milan was in ferment
at all, that Milan of the Great Brera, as Franco Russomi meant it and that
became a myth to live intensely for all the other Italian and world
artists.Since those historical years Rossicone has initiated a very singular
centre, which with the Mazzotti' s one at Albisola is one of the key points
of the contemporaneous artistic ceramics, where he could develop not only
his work as an artist, but also meet key figures of the Italian and foreign
art.It's  surprising
this material, hand worked by the artist Rossicone and coloured following
an inwards sensibility that shines through and enlightens the forms the
artist impresses by the pedal lathe, over no stereotype or anyway serial
forms but over precious investigation about volumetric ratio, rhythm and
elegance.
To the primitivity of forms, Rossicone links present times he lives with enthusiasm and minded as who believes not only in the ennobling work but in the real art expression, the only can witness live.Rossicone ceramics enriches the precious contribution that have been given, along all the twentieth century, to this manual activity, that is not  as
we have already noticed in other opportunities - not least the exposition
“ The garden of ceramics” care of us at Pietrasanta in 1998 - a minor art,
but a real and proper artistic production as stone, marble and bronze.It
must be said more if observing the feverish many hands work carried out
in past years in theRossicone workshop; here the most beautiful names of
the Italian and international art followed one another, originating
a sampling of
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 authors'
works, of unique pieces, decorated dishes, ceramic amphorae and sculptures,
a whole world of art finds shining through timbres, images and  colours
of artists, exerting themselves to make them.
Dishes, big and little, kilned and coloured. In them are read the totem of Ibrahim Kodra, the Venices and the pastorals of Remo Brindisi, the nudes of Cantore, the landscapes and marines of Cascella, the Somalian women of Salvatore Fiume, the expressionist farm hands of Enzo Migneco, the  Ciociaria
pastoral world of Purificato, the precious faces of Marisa Settembrini,
with the leavening and the informal quotations , the pop nature of Schifano,
the doves of Bodini, the ironic world of Franz Borghese, etc. But it will
be useful to know that among dishes, ovals, heads, sculptures, others and
bottles, Rossicone has lately worked with Treccani who has produced ceramic
woman-flower and undone jars, or with Mario Botta, the great Switzerland
architect, to make many openings jars.
Along time the workshop has become a precious museum, the only one in the city of Milan, where the best of the Italian art, the most recent history of the contemporaneous art, has embody into an admirable manufacturing, and Giuseppe Rossicone is already, besides an artist, an intellectual and an operator whose name is linked to the ceramics international history. 
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