Скульптура Mirabili BAMBINO

Staccioli then set up his own studiocum-workshop in Scandicci on the outskirts of Florence, where he continued under his own steam to experiment on a daily basis with the use of fire and of copper oxides, producing a vast range of vases which he then decorated with imaginary figurative narratives fixed for eternity by an enamel sheen.‎ These works earned him his first true recognition and success at personal and collective exhibitions as well as at important cultural events: his ceramics with their strong metallic effect and sparkling enamel finish soon won praise for their elegance and originality not only in Florentine art circles but throughout the country.‎ The characters that populated the surfaces of his ceramics in this phase (merry-go-rounds with toy horses suspended in midair accompanied by winged putti, trumpet players, dolls and Pulcinellas) soon acquired a third dimension, translating into sculptures yet without losing their fairy-tale aura, their extraneity to all notion of time or place: idealized shapes reminiscent of pre-Roman statuary (of Etruscan sculpture in particular), to which the polychromy of ceramic added a vigorous effect of contrasting masses.‎ Warriors, travellers, cardinals and horses soon joined the already varied throng of imaginary figures and began, in the second half of the 1990s, to add their lively touch to major public and private collections both in Italy and abroad.‎