{"id":16689,"date":"2025-11-25T10:20:26","date_gmt":"2025-11-25T09:20:26","guid":{"rendered":"https:\/\/www.marsilioarte.it\/?post_type=magazine&p=16689"},"modified":"2025-11-25T15:59:26","modified_gmt":"2025-11-25T14:59:26","slug":"book-snow-art-fashion-design","status":"publish","type":"magazine","link":"https:\/\/www.marsilioarte.it\/en\/magazine\/book-snow-art-fashion-design\/","title":{"rendered":"The book that tells how snow has influenced art, fashion and design"},"content":{"rendered":"Between snow and colors: when art depicts winter in motion<\/strong>
\r\n
\r\nWhat happens when snow is not just a landscape, but a stage? When athletic movement becomes a visual narrative and the decorative arts are clothed in winter?
\r\nThe relationship between art and winter sports has its roots in centuries-long depictions that talk to us about much more than simple pastimes: they speak to us of culture, of society, of aesthetics. The link between art and sport runs through the history of man as a finely drawn but fascinating thread. If painting has always sought to capture the movement and the emotion of athletic action, it is with the advent of winter sports in the nineteenth and twentieth centuries that a new visual and conceptual chapter opened. But the story, in fact, began much earlier. In the Middle Ages, when organized sport was still a distant concept, we already find depictions that express the pleasure of play and competition on snow.
\r\nAn extraordinary example of a medieval depiction of winter is to be seen on the frescoed walls of Torre Aquila, in the Castello del Buonconsiglio in Trento. Here, in around 1400, Maestro Venceslao created the famous Cycle of the<\/em> Months<\/em>, a masterpiece of International Gothic art that, with exquisite sensitivity, narrates the rhythms of the year and of human life. The month of January opens onto an enchanted landscape: snow covers the fields and hills, while in the background stands the castle of Stenico, at the time the residence of Prince\u2013Bishop George of Liechtenstein. In the foreground, groups of nobles wrapped in elegant fur-trimmed cloaks challenge one another in a snowball fight, captured in a moment of collective, energetic play that is surprisingly modern. In the background, two hunters make their way through the snow accompanied by their dogs, while a fox and a badger move with caution among the trees, relating\u2014almost by stealth\u2014the silence of life in the snow-bound woods. The January fresco, with its wealth of detail and its skill in blending the courtly with nature and action, offers one of the earliest pictorial testimonies to winter life, not as an allegorical symbol but as a real, lived experience made up of movement, interaction, and connection with the environment.
\r\nAmong the most fascinating examples of imagined medieval winters are the miniatures in the Tr\u00e8s riches heures<\/em> du duc de Berry<\/em>, the legendary Book of Hours created in the early decades of the fifteenth century by the Limbourg brothers. The page dedicated to the month of February offers a vivid glimpse of a snow-covered landscape populated by figures immersed in the daily life of the cold season: peasants warming themselves by the fire, shepherds wrapped in cloaks. The movements and gestural expressiveness of the figures convey an idea of winter as an active, social time, a time of sharing. With the wealth and variety of their decoration and meticulous attention to detail, the Tr\u00e8s riches heures <\/em>offer one of the first figurative representations of winter, anticipating\u2014 with courtly elegance\u2014the dialogue between the body and its environment that would return, centuries later, in the paintings of the great artists of northern Europe.
\r\nWith the arrival of the modern age, between the sixteenth and seventeenth centuries, interest in winter landscapes became more systematic, especially in Dutch and Flemish art. Pieter Bruegel the Elder, with works such as Hunters<\/em> in the Snow <\/em>(1565), paved the way for a new sensibility. The center of the painting is occupied by three hunters who, together with their hounds, are returning to the village after what was probably an unsuccessful hunt; but it is in the background, which opens as if a theater curtain beyond the hill, that the painting reveals all its narrative wealth: a frozen expanse on which tiny figures move about, engaged in various activities on ice and snow\u2014men skating, children sliding, women carrying bundles of wood, others playing games, diving, falling. A swarm of gesticulations, efforts at maintaining one\u2019s balance, of physical encounters and sociability, in which a surprising variety of movements, rhythms, and postures appear. This is not yet sport in the modern sense of the word\u2014 there is no codified competitive element\u2014but clearly there are forms of shared physical activity in a communal winter space.
\r\nDuring the seventeenth century, Dutch painting in fact developed a new perspective on the cold season. One of the most outstanding masters who made winter a central subject of their work is Hendrick Avercamp, an attentive and meticulous artist, with the skill to transform ice into a crowded stage teeming with life. In his paintings, frozen canals and lakes become the beating heart of the Dutch winter: men, women, and children move around engaged in skating, trading, playing, falling over, and loving. Snow and ice are not just atmospheric elements, but true narrative agents able to convey the rhythm of cold, festive days. With his ironic gaze and taste for detail, Avercamp captures a world in which everyday gestures become part of a choral narrative, making the winter landscape an autonomous, identifiable genre, deeply rooted in city life and its inhabitants.6 Winter thus becomes a lived, shared space, observed with a modern eye, able to depict and recount the relationship between body, nature, and society.
\r\nIn the second half of the nineteenth century, the Impressionists also made a fundamental contribution to the evolution of the artist\u2019s view of winter. For them, snow was no longer simply a narrative backdrop or a seasonal allegory, but a luminous, vibrant, continually changing material. Artists such as Claude Monet, Alfred Sisley, and Camille Pissarro painted snowy landscapes with light brushstrokes and cool colors, paying close attention to atmospheric effects, nuances of light, and variations in tonalities of white. In their paintings, snow becomes a sensory experience, a field of unalloyed observation.
\r\nWhat has changed is the modernity of their gaze: winter is no longer represented as a constructed scene, but as a visual impression, as a phenomenon that envelops, distorts,
\r\nand transforms. And even though sporting scenes rarely make an appearance, it is precisely this new attention to light, atmosphere, and movement that paves the way for a more dynamic and suggestive representation of the winter environment, anticipating sensibilities that will develop in full in the twentieth century.
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\r\n[\u2026]
\r\n

SPORT, ELITE AND ILLUSTRATED IMAGERY<\/h2>
\r\nWith the beginning of the twentieth century, winter sports ceased to be merely a physical activity: they became a lifestyle. The earliest Alpine resorts\u2014Saint-Moritz, Davos, Chamonix, Cortina d\u2019Ampezzo<\/a>\u2014were transformed from quiet mountain villages into elite destinations frequented by aristocrats, entrepreneurs, and artists, the mountains elegantly decked and winter clad with glamour.
\r\nThis cultural transformation was also reflected in the visual arts, particularly in advertising graphics. Between the 1920s and 1930s, illustrators such as Emil Cardinaux and Erich Herm\u00e8s created promotional campaigns for the new Alpine ski resorts, transforming the sport into an aesthetic and commercial phenomenon. The snow-covered landscapes no longer depict nature or athletic exploits but become the icons of a sophisticated lifestyle, made up of imposing hotels, impeccable slopes, fashionable techwear, and elegant social occasions.
\r\nEmblematic in this sense is the work of Tamara de Lempicka who, in her painting Saint-Moritz <\/em>(1929), depicts a woman skier with a geometric face and a proud gaze: an autonomous, elegant, modern figure, a true style icon, embodying the image of the chic, athletic woman, perfectly at ease in speed as in alpine glamour.
\r\nAmong the most original and intense visions of winter in early twentieth-century painting is that of Ernst Ludwig Kirchner, a central figure of German Expressionism and co-founder of the Die Br\u00fccke group. Kirchner\u2019s vision of winter is neither nostalgic nor descriptive in spirit: His gaze is restless, modern, and tense. In the painting Skating Scene <\/em>(c. 1920), the ice is not simply a backdrop but a psychological field: bodies move along forced diagonal lines, poses are tense, faces simplified, and athletic movements become reflections on identity, speed, and solitude.
\r\nFortunato Depero, a native of the Trento area and deeply attached to it, interpreted the subjects of speed, strength, and dynamism within a coherent and personal vision. In his works, skis, mountains, and equipment become elements of a visual language made up of fragmented shapes and vibrant colors, where everything is momentum and rhythm, as in Montagna con sci e piccozza<\/em> (Mountain with skis and ice ax, 1930\u20131940), a small oil painting in which the peaks are transformed into live geometric structures. However, it was in the 1950s that he produced some of his most accomplished works. Between 1953 and 1956, he designed the so-called Sala Depero in the Palazzo della Provincia Autonoma di Trento, a \u201ctotal\u201d environment where walls, furnishings, and decorations come together to construct a colorful and dynamic world. Although it was one of his last works, it retains all the visionary energy of optimism, vitality, and invention. In 1956, he also designed the poster Faites du ski dans les<\/em> Dolomites<\/em>, in which skiing becomes acrobatic, stylized, and light. The figures, cut out as though angular collages, merge with a mountain that evokes both the peaks, and the soaring architecture dear to the Futurists. For Depero, sport was a way of narrating modernity.
\r\nIn the meantime, specialized publishing grew and in Italy magazines such as Lo sport fascista<\/em>, La donna<\/em>, and Le<\/em> vie d\u2019Italia <\/em>celebrated snow with illustrated articles that mixed propaganda with modernist imagery. In France, Adam<\/em>, La Mode chic<\/em>, and Sports d\u2019hiver <\/em>dictated the style
\r\nof holidays in the mountains. In Poland and the United States, publications such as Zima<\/em>, Sport Zimowy<\/em>, and The Illustrated Sporting News <\/em>portrayed skiing as a discipline and a social ritual. Between glossy photographs and stylized drawings, athletic bodies\u2014both male and female\u2014were sculpted into heroic and dynamic poses, consistent with the aesthetics of the time.
\r\nWhile illustrations were a guide to style and behavior for adults, children also had their own snow-clad fantasies, made up of magazines and picture books featuring stories set in the snow, sleigh rides, skiing puppets, and playful sports alphabets. A famous example is A Winter<\/em> Sports Alphabet <\/em>(1926), illustrated by Joyce Dennys with ironic texts by \u201cEvoe\u201d (E.V. Knox): a snobbish and amusing alphabet that recounts the vices and virtues of alpine life. In Italy, Antonio Rubino, leading illustrator for the Corriere dei piccoli<\/em>, created a poetic universe where snow is play, land of dreams, and stories. Children on sledges, anthropomorphic animals, snowball fights, and Art Nouveau figures populate pages filled with rhythm and imagination. With his decorative and dreamlike style, Rubino transforms athletic movement into visual poetry. His illustrations, often accompanied by rhymes, become bridges connecting play, art, and education. His work extended well beyond the page: many of his images would inspire toys, paper theaters, and cut-out silhouettes. In an era when toys reflected cultural change, winter sports entered children\u2019s bedrooms. Made of wood, tin, or papier-m\u00e2ch\u00e9, small spring-loaded skiers, sledges, and rocking skaters flooded the European market\u2014Germany, Austria, France, and also northern Italy.In the 1920s and 1930s, with the boom in middle-class Alpine tourism, winter toys also took on aspects relating to identity and education, with companies such as Lehmann, Fernand Martin, and INGAP producing bobsleighs, ski puppets, and snow-covered theaters. In the 1940s, Kay Bojesen in Denmark created Boje and Datti, two renowned wooden skiers inspired by his own family members.
\r\nWith the arrival of Barbie, skiing definitively entered the global pop imagination. On the slopes since the 1960s, Barbie, together with Ken, Skipper, and the whole extended family, embodied an idea of sport and femininity that constantly evolved in line with fashion, technology, and aesthetic tastes. An artful mix of plastic, color, and performance, Barbie became a visual narrative, in perfect harmony with the pop language that, in those very years, was beginning to redefine the boundaries between art, consumption, and mass culture.
\r\n
\r\nMassimo Zanella<\/strong>
\r\n
\r\nThe text is taken from da It\u2019s Snowing! <\/em>In art, fashion, design<\/em>, Marsilio Arte, Venice 2025","protected":false},"featured_media":16686,"template":"","meta":{"inline_featured_image":false,"footnotes":""},"categorie_magazine":[341],"class_list":["post-16689","magazine","type-magazine","status-publish","has-post-thumbnail","hentry","categorie_magazine-books-from-marte"],"acf":[],"yoast_head":"\nThe book that tells how snow has influenced art, fashion and design - Marsilio Arte<\/title>\n<meta name=\"description\" content=\"\u201cIt\u2019s Snowing! 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