{"id":17081,"date":"2026-04-23T17:15:00","date_gmt":"2026-04-23T15:15:00","guid":{"rendered":"https:\/\/www.fazioli.com\/?post_type=news&p=17081"},"modified":"2026-04-23T17:15:03","modified_gmt":"2026-04-23T15:15:03","slug":"f212-venetia","status":"publish","type":"news","link":"https:\/\/www.fazioli.com\/ru\/news\/f212-venetia\/","title":{"rendered":"F212 VENETIA"},"content":{"rendered":"\n

On the occasion of Milan Design Week, Fazioli unveils its latest special creation:

FAZIOLI F212 VENETIA<\/strong><\/p>\n\n\n\n

Not merely a tribute to Venice and its sumptuous beauty, but a piano woven with symbols and references to the noblest values, celebrating human ingenuity and giving voice to a clear and heartfelt yearning for peace.<\/p>\n\n\n\n

At the FAZIOLI Showroom in Milan, during Milan Design Week 2026, the sumptuous F212 VENETIA piano has been taking centre stage for several days: its voice resounded in preview today, Thursday 23 April, with a presentation as part of the Fuorisalone, enhanced by the presence of pianist Alberto Ferro, recently awarded first prize at the Ljubljana Festival International Piano Competition.<\/p>\n\n\n\n

The story behind the creation of this extraordinary instrument forms the heart of the event: Paolo Fazioli, together with the artisans of Bianchi Dipinti, who brought the instrument\u2019s decoration to life, reveals its genesis, illustrating the creative process, the construction choices, and the manufacturing excellence that make VENETIA a unique work, the result of knowledge, experience, and passion.<\/p>\n\n\n\n

The aesthetic concept of the FAZIOLI F212 VENETIA<\/strong> piano stems from the desire to transform the instrument into a true visual narrative, capable of evoking Venice not only as a place, but as an idea: an extraordinary balance between art, human ingenuity, and authentic values.<\/p>\n\n\n\n

The choice to depict the Canal Grande <\/strong>(Grand Canal) along the side of the instrument belongs to an iconographic tradition deeply rooted in art history. From Canaletto to Paul Signac, the Canal Grande has been observed, studied, and reinterpreted over time as the beating heart of the city. Its architecture\u2014from Gothic to Renaissance palaces, such as Ca’ d’Oro\u2014forms a kind of \u201ctheatre of water\u201d, a stage upon which the very history of the Serenissima is reflected. Transposing this vision onto the body of a piano means entering this tradition, while also making a new gesture: for the first time, such a narrative unfolds across the surface of a musical instrument, merging visual art and sound into a single object.<\/p>\n\n\n\n

The description left by Philippe de Commynes in 1495 vividly conveys the monumental and celebratory character of the Canal Grande: a \u201cstreet\u201d unlike any other in the world, lined with majestic buildings clad in precious marbles from Istria, enriched with porphyry and serpentine. This historical perspective helps define the tone of the painted intervention on the piano, which deliberately recalls an eighteenth-century fresco style, capable of restoring depth of perspective and narrative continuity.<\/p>\n\n\n\n

The chosen starting point for this representation is the Ponte di Rialto (Rialto Bridge), the most iconic and opulent of the four bridges spanning the Canal Grande. Its presence is not merely aesthetic: it becomes a symbol of connection, of encounter between different shores\u2014an image that reflects the very function of the piano as a bridge between composer, performer, and listener<\/strong>. The choice of Venice also evokes a precise territorial and cultural link<\/strong>: the proximity of Sacile, historically tied to the Serenissima and aptly known as the \u201cGarden of the Serenissima\u201d, reinforces the project\u2019s identity.<\/p>\n\n\n\n

Yet the Canal Grande is not merely a decorative subject. It is a metaphor for a city that defies the laws of nature, built upon water and sustained by a balance as bold as it is enduring. In this sense, it becomes a symbol of human ingenuity and tenacity, the same spirit that drives the continuous evolution of the piano<\/strong>: an instrument that, while grounded in centuries-old tradition, is constantly subject to research, refinement, and reinterpretation.<\/p>\n\n\n\n

As the eye moves along the instrument, it encounters the coat of arms of Venice placed on the music stand, before being drawn to the extraordinary painting on the lid. Here, the iconographic reference becomes explicit and deeply symbolic: the Lion of Saint Mark (Leone di San Marco), taken from a work by Vittore Carpaccio, dating from around 1516 and now housed in Palazzo Ducale (the Doge\u2019s Palace). The winged lion, emblem of the Evangelist Mark, appears poised between land and sea, with its paw resting on an open book bearing the inscription \u201cPax tibi Marce evangelista meus\u201d. This image conveys a message that goes beyond civic celebration: it proposes a vision of power founded on peace<\/strong>, stability, and justice. There is no aggression in the figure of the lion, but rather a quiet, conscious strength, capable of maintaining balance without resorting to violence.<\/p>\n\n\n\n

It is precisely in this layering of meanings<\/strong> that the FAZIOLI VENETIA piano reveals its deepest dimension: a musical instrument which, like Venice itself, invites us to look beyond outward beauty to the possibility of a higher, enduring balance, built with wisdom, intelligence, vision, and dialogue\u2014concepts that, perhaps more than ever, are both timely and urgent.<\/p>\n\n\n\n

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THE ARTISTS BEHIND THE DECORATIONS<\/strong>
The Florentine masters of Bianchi Dipinti<\/strong><\/p>\n\n\n\n

With over a century of history in Florence, the artisan workshop Bianchi Dipinti represents an excellence of local artistic tradition. Family-run, it produces paintings entirely executed by hand by Florentine master craftsmen, still using techniques and materials handed down from generation to generation.<\/p>\n\n\n\n

Each work is created to order, starting from photographic catalogues or subjects supplied directly by clients. This allows for bespoke paintings to be produced in the desired size and style, suitable for any setting, from private interiors to large-scale decorative projects.<\/p>\n\n\n\n

Over the years, Bianchi Dipinti has collaborated with leading names in the interior design sector.<\/p>\n\n\n\n

Production ranges from fourteenth-century sacred panel painting to Renaissance works and eighteenth- and nineteenth-century canvases, through to contemporary and abstract art. Each painting is created using techniques and materials consistent with its period of reference. The offer is completed by hand-carved frames, also decorated with gold leaf, alongside more modern solutions.<\/p>\n\n\n\n

The workshop also undertakes the restoration of paintings on canvas, wood, and copper, including frames and tabernacles. With over one hundred years of experience, the Bianchi family continues to meet the demands of an international clientele, keeping alive a tradition of the highest artistic level.<\/p>\n\n\n\n

THE PREVIOUS MODEL<\/strong>
The FAZIOLI \u201cMarco Polo\u201d Art Case piano<\/strong><\/p>\n\n\n\n

Twenty-five years ago, FAZIOLI already celebrated its connection with Venice with the successful \u201cMarco Polo\u201d model, destined to become a permanent fixture among the most successful pianos in the \u201cArt Case\u201d collection. This creation has its roots in the request of a cultured Chinese client who explicitly asked for a special instrument celebrating the indissoluble historical bond between Italy and his country.<\/p>\n\n\n\n

The result was a piano intended to speak of eras and places that marked the meeting between East and West. The first place evoked is Sacile itself, home of the Fazioli factory and historically known as the \u201cGarden of the Serenissima\u201d. This privileged connection with Venice acts as a gateway to the journeys of Marco Polo, who, at the end of the thirteenth century, travelled along the Silk Road to reveal to Europe the wonders of Cathay. But the layering of time goes even further: by lifting the lid of the piano, one is immersed in the style of eighteenth-century Venice through a masterful reproduction of a work by Canaletto. In an elegant interplay of references, the painting depicts a scene set in 998 AD, transporting us to the splendour of the Serenissima, echoing that of the ancient Eastern dynasties symbolised by the instrument\u2019s red lacquer. A quarter of a century after its creation, the Fazioli \u201cMarco Polo\u201d piano continues to represent a kind of time machine, capable of showing how beauty is the privileged language that unites the distant past with our present.<\/p>\n","protected":false},"excerpt":{"rendered":"

Fazioli F212 VENETIA, a grand piano where music becomes a visual narrative. <\/p>\n","protected":false},"author":5,"featured_media":17036,"template":"","meta":{"_acf_changed":false,"inline_featured_image":false},"tags":[],"class_list":["post-17081","news","type-news","status-publish","has-post-thumbnail","hentry"],"acf":[],"_links":{"self":[{"href":"https:\/\/www.fazioli.com\/ru\/wp-json\/wp\/v2\/news\/17081","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.fazioli.com\/ru\/wp-json\/wp\/v2\/news"}],"about":[{"href":"https:\/\/www.fazioli.com\/ru\/wp-json\/wp\/v2\/types\/news"}],"author":[{"embeddable":true,"href":"https:\/\/www.fazioli.com\/ru\/wp-json\/wp\/v2\/users\/5"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fazioli.com\/ru\/wp-json\/wp\/v2\/media\/17036"}],"wp:attachment":[{"href":"https:\/\/www.fazioli.com\/ru\/wp-json\/wp\/v2\/media?parent=17081"}],"wp:term":[{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.fazioli.com\/ru\/wp-json\/wp\/v2\/tags?post=17081"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}