{"id":79061,"date":"2020-06-14T07:04:13","date_gmt":"2020-06-14T06:04:13","guid":{"rendered":"https:\/\/www.fondazionepirelli.org\/?p=79061"},"modified":"2022-10-07T08:52:33","modified_gmt":"2022-10-07T07:52:33","slug":"the-1960s-irony-and-rationalim-in-the-long-p","status":"publish","type":"post","link":"https:\/\/www.fondazionepirelli.org\/en\/activities\/the-1960s-irony-and-rationalim-in-the-long-p\/","title":{"rendered":"The 1960s, Irony and Rationalim In The Long P"},"content":{"rendered":"<p>\u201c<em><strong>Riccardo Manzi<\/strong> is not a graphic artist. He is a painter, a philosopher, a humourist. His exhibitions and books have been acclaimed by the general public and critics.<\/em>\u201d This is how, in an article entitled \u201c<a href=\"https:\/\/www.fondazionepirelli.org\/archivio-storico\/bookreader\/pubblicazioni-e-riviste\/RivistaPirelli\/1961_4.html#page\/68\/mode\/2up\">The graphic artists club<\/a>\u201d, <a href=\"https:\/\/www.rivistapirelli.org\/en\/\"><em>Pirelli <\/em>magazine<\/a> no. 4 of 1961 describes one of the most representative and prolific interpreters of Pirelli\u2019s visual communication in the 1960s: the years of the <strong>Cinturato<\/strong>, a revolutionary tyre that became a benchmark for the entire automotive world. The same article from 1961 reveals a curious aspect of Manzi: \u201cHe\u2019s terrified of machines. He doesn\u2019t know how to drive, and he can\u2019t use an electric whisk, or even an electric razor: when faced with any mechanical contraption, he just yells and runs away.\u201d And this explains a lot about the imagination of the <strong>painter-philosopher-humourist<\/strong>, who was born in Lazio but became Milanese by adoption. His little hominids always make purely jocular use of tyres, pulling them down over their eyes, using them as an umbrella, or turning them into an elegant hat. The <a href=\"https:\/\/www.fondazionepirelli.org\/archivio-storico\/disegni-e-manifesti\/search\/result.html?query=&amp;jsonVal=%7B%22jsonVal%22%3A%7B%22startDate%22%3A%22%22%2C%22endDate%22%3A%22%22%2C%22fieldDate%22%3A%22dataNormal%22%2C%22_perPage%22%3A20%2C%22collanaName%22%3A%22%5C%22Stampati+pubblicitari%5C%22%22%7D%7D&amp;autoreAmbitoIco=%22Manzi%2C+Riccardo%22&amp;lang=en\">Cinturato, Inverno and BS3<\/a> tyres are so safe that you can \u201cdrive blindfolded\u201d and you don\u2019t need to worry \u201cabout snow and ice\u201d, or you can just use them as elegant objects. Just as their creator, who is terrified of machines, would prefer to do.<\/p>\n<p>At the opposite extreme from Manzi\u2019s meta-message is the \u201cN+R\u201d campaign of 1961 and 1962, which promoted the safe, ultra-efficient tyre with a nylon and rayon casing. \u201cTheir safety is worth more than a thousand lire\u201d warn the posters created by <strong>Ugo Mulas, Giulio Confalonieri<\/strong>, and <strong>llio Negri<\/strong>, in which photos of children and puppies are followed by long, meticulous explanations and the results of physical tests. Rational, direct, and effective, the \u201cN+R\u201d tyre is perfect for the father who wants a truly safe product for his car and his loved ones. It is no coincidence that the logo, with its clean lines and use of colour, is the work of the hyper-rationalist Bob Noorda \u2013 another great name in the universe of artists who have worked with Pirelli during its long history of communication.<\/p><p><a href=\"https:\/\/www.fondazionepirelli.org\/en\/exhibition\/the-pirelli-style-from-the-economic-boom-to-the-2000s\/\">Back to the main page<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"<p>\u201cRiccardo Manzi is not a graphic artist. He is a painter, a philosopher, a humourist. His exhibitions and books have been acclaimed by the general public and critics.\u201d This is how, in an article entitled \u201cThe graphic artists club\u201d, Pirelli magazine no. 4 of 1961 describes one of the most representative and prolific interpreters of [&hellip;]<\/p>\n","protected":false},"author":9,"featured_media":78715,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[71,82],"tags":[],"class_list":["post-79061","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-activities","category-exhibitions"],"acf":[],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.0 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The 1960s, Irony and Rationalim In The Long P - Fondazione Pirelli<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.fondazionepirelli.org\/en\/activities\/the-1960s-irony-and-rationalim-in-the-long-p\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The 1960s, Irony and Rationalim In The Long P - Fondazione Pirelli\" \/>\n<meta property=\"og:description\" content=\"\u201cRiccardo Manzi is not a graphic artist. He is a painter, a philosopher, a humourist. His exhibitions and books have been acclaimed by the general public and critics.\u201d This is how, in an article entitled \u201cThe graphic artists club\u201d, Pirelli magazine no. 4 of 1961 describes one of the most representative and prolific interpreters of [&hellip;]\" \/>\n<meta property=\"og:url\" content=\"https:\/\/www.fondazionepirelli.org\/en\/activities\/the-1960s-irony-and-rationalim-in-the-long-p\/\" \/>\n<meta property=\"og:site_name\" content=\"Fondazione Pirelli\" \/>\n<meta property=\"article:published_time\" content=\"2020-06-14T06:04:13+00:00\" \/>\n<meta property=\"article:modified_time\" content=\"2022-10-07T07:52:33+00:00\" \/>\n<meta property=\"og:image\" content=\"https:\/\/wpsite-assets.fondazionepirelli.org\/wp-content\/uploads\/2020\/06\/05080327\/1961_manzi_auto_opuscolo_1-01mod1-e1591865767426.jpg\" \/>\n\t<meta property=\"og:image:width\" content=\"380\" \/>\n\t<meta property=\"og:image:height\" content=\"501\" \/>\n\t<meta property=\"og:image:type\" content=\"image\/jpeg\" \/>\n<meta name=\"author\" content=\"fondazionepirelli\" \/>\n<meta name=\"twitter:card\" content=\"summary_large_image\" \/>\n<meta name=\"twitter:label1\" content=\"Written by\" \/>\n\t<meta name=\"twitter:data1\" content=\"fondazionepirelli\" \/>\n\t<meta name=\"twitter:label2\" content=\"Est. reading time\" \/>\n\t<meta name=\"twitter:data2\" content=\"2 minutes\" \/>\n<script type=\"application\/ld+json\" class=\"yoast-schema-graph\">{\"@context\":\"https:\/\/schema.org\",\"@graph\":[{\"@type\":\"WebPage\",\"@id\":\"https:\/\/www.fondazionepirelli.org\/en\/activities\/the-1960s-irony-and-rationalim-in-the-long-p\/\",\"url\":\"https:\/\/www.fondazionepirelli.org\/en\/activities\/the-1960s-irony-and-rationalim-in-the-long-p\/\",\"name\":\"The 1960s, Irony and Rationalim In The Long P - 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