Evolving into today with an ancient craft
- Franco is a master of silver and goldsmithing
- He produces jewels and sacred art objects
- He is inspired by nature, theology and cultural heritage
A true master of the art, Franco Blumer's craftsmanship ranges across the worlds of silversmithing and goldsmithing. In his workshop close to Bergamo, he creates refined jewels and rare, valuable objects of sacred art. He also restores antique treasures for important clients such as the Duomo in Milan. The gilding of the Madonnina, the symbol of Milan that watches over the city at the top of the cathedral, is the result of his savoir-faire. An extremely sophisticated chiseller, after graduating at CAPAC (Polytechnic of Trade and Tourism) he trained in important Italian workshops and foundries, learning many techniques, some almost extinct. Franco became the custodian of an ancient tradition, which allows him to work on restoration with the awareness of an artist who relates to colleagues from the past.
Interview
- Did you learn your craft from a master?
- After graduating in goldsmithing in 1977 in Milan, I trained in the workshop of the sculptor and engraver Giancarlo Fecchio in Venice, and with Manlio Sironi in my study of ancient sacred art. I learned everything in the workshop, from drawing to techniques, both ancient and modern.
- What are your sources of inspiration?
- There are many and they are diverse. For sacred art, I find inspiration above all in theology and in the great heritage of historical-artistic masterpieces, while for jewellery I am above all inspired by the forms of nature, leaves, flowers and animals.
- What is the most challenging aspect of your craft?
- In my career I have dealt with many different genres, starting from silversmithing in Venice, to goldsmithing, jewellery making and sacred arts, and then also restoration in various fields. There is always something new to understand and acquire, you never stop learning.
- Do you think your craft is endangered?
- I started out as a silverware engraver and this is a craft that is dying out: there are no students. In goldsmithing, on the other hand, the way of working has changed a lot and renewal guarantees continuity. But any craft with manual technique at its core is under threat, except for restoration.
Franco Blumer is a master artisan: he began his career in 1980 and he started teaching in 1985
Where
Franco Blumer
