In 2024, the Carlo Rizzarda catalog “poet of iron” was presented to the public. The 400-page volume, in addition to featuring the sheets of wrought iron artifacts preserved in the museum, retraces the life of the famous ornamental blacksmith from Feltre.

From May 14 to August 17, it is literally possible to immerse oneself in the pages of the catalog by visiting the Carlo Rizzarda exhibition on paper. Besides the works forged by the master and his art collection, documents, drawings, photos, period publications, printing matrices, and some unpublished works are displayed, not only by Rizzarda but also by Umberto Bellotto and Alessandro Mazzucotelli.

 Five sections are proposed. Carlo Rizzarda in Feltre recounts the artist’s youth and the works created in his hometown: from the Gaggia lamp to the gate of Villa De Mezzan in Grum, a true swan song. A Feltre native in Milan offers a glimpse into the context in which Rizzarda operated in the Milanese capital and illustrates the commissions completed for prestigious personalities here in an authentic whirlwind of works and places.

 The “poet of iron,” “Lisander,” and “the Magician” illustrate the close bond with Mazzucotelli and the profound stylistic differences with the production of the latter and Bellotto. Following are Carlo Rizzarda and art exhibitions, and Carlo Rizzarda and the architects, which propose a journey through the ironworks displayed on the second floor of the Gallery, enriched by scenic designs and trompe l’oeil.

The life, work, and environment of the “poet of iron,” in documents, drawings, and archival photos

In 2024, the Carlo Rizzarda catalog “poet of iron” was presented to the public. The 400-page volume, in addition to featuring the sheets of wrought iron artifacts preserved in the museum, retraces the life of the famous ornamental blacksmith from Feltre.

From May 14 to August 17, it is literally possible to immerse oneself in the pages of the catalog by visiting the Carlo Rizzarda exhibition on paper. Besides the works forged by the master and his art collection, documents, drawings, photos, period publications, printing matrices, and some unpublished works are displayed, not only by Rizzarda but also by Umberto Bellotto and Alessandro Mazzucotelli.

 Five sections are proposed. Carlo Rizzarda in Feltre recounts the artist’s youth and the works created in his hometown: from the Gaggia lamp to the gate of Villa De Mezzan in Grum, a true swan song. A Feltre native in Milan offers a glimpse into the context in which Rizzarda operated in the Milanese capital and illustrates the commissions completed for prestigious personalities here in an authentic whirlwind of works and places.

 The “poet of iron,” “Lisander,” and “the Magician” illustrate the close bond with Mazzucotelli and the profound stylistic differences with the production of the latter and Bellotto. Following are Carlo Rizzarda and art exhibitions, and Carlo Rizzarda and the architects, which propose a journey through the ironworks displayed on the second floor of the Gallery, enriched by scenic designs and trompe l’oeil.

The life, work, and environment of the “poet of iron,” in documents, drawings, and archival photos