Leone - Alluminio
cm 200 x 150

Lo scultore Giorgio Bortoli è invitato

come "Ospite d'Onore" all'edizione 2019 della famosa

Fiera dell'arte di Longarone (BL)

Leone - Alluminio
cm 200 x 150

2018-12-14 archiscultura
Il Gazzettino di Padova x 150


"La Torre di Luce"
dello scultore Giorgio Bortoli
In Piazza a Campodarsego
Il progetto unisce Veneziua e New York

sarà visibile dal dal 14 dicembre al 6 gennaio 2019 (Epifania)

Invitation of the event

aThe New - Sun 16.09.2018

Il Gazzettino - sab 03.11.2018

Inauguration of the
"Rampant horse"
of the sculptor Giorgio Bortoli
at the historical park of the Villa Nazionale Pisani (Strà - Venice)

Monday 17 September 2018, 12.00

The Rampant Horse of the sculptor Giorgio Bortoli

The Rampant Horse by Giorgio Bortoli, also visible from outside the Villa, in an ideal setting

From left to right: The sculptor Giorgio Bortoli, Marino Bartoletti (RAI journalist, commentator), Domenico Stanziani (owner Restaurant Al Colombo), Pino Donaggio (musician and composer).

Restaurant Al Colombo Venice
October, 2016

Delivered a tribute to "the Phoenicians in Bronze", made by the artist Giorgio Bortoli, in Marino Bartoletti (RAI journalist commentator)
and Pino Donaggio (musician - composer)

Delivery of the model of the monument to the Mayor of Venice Luigi Brugnaro pictured right. At the center of the master Giorgio Bortoli.

Group photo with various municipal authorities and the monument to the Knights of Italy, made by Giorgio Bortoli, clearly visible behind the group.


Piazza Cavalieri of Italy, Favaro Veneto (Venice)

June 2, 2016


Delivery to the Mayor of Venice, Luigi Brugnaro,
the model of the monument installed in the Piazza
and built by master Giorgio Bortoli

Venice beyond the Ghetto

Presentation of the project to the press conference on March 24, 2016 at
the headquarters of the RAI Veneto in the Palazzo Labia in Venice Tiepolo room
I thank in particular the President Ciambetti the Veneto Regional Council, Rabbi Bahbout, Martino Zanetti, Chairman of Hausbrandt Group, the Director of Rai De Luca Veneto for their work and historian Riccardo Calimani, welcome guest, for his contribution

Coffee Exhibition
Hausbrandt (sponsors)

Beyond The Venice Ghetto - Leone Rabbinical

Exposure Astoria Wines (sponsors)

Rabbi S. Bahbout delivery Rabbinical Leone to the President of the Regional Council of Veneto

Lion Rabbinical delivery to the President of the Regional Council of Veneto Dott. Roberto Ciambetti

from left: G. Bortoli, Drs. M. Zanetti Hausbrandt, G. De Luca Director RAI Veneto, Rabb. Shalom Babout, Pres. Of the Council Region Veneto Ciambetti R. and D. Federici

Article Published in The New York Times
March 10, 2016

here's the part where the Maestro Giorgio Bortoli, marked in red in the article integral is quoted:

"... Davide Federici, a local journalist, and the Venetian sculptor Giorgio Bortoli were present, and Rabbi Bahbout, who is highly regarded after two years in the community, seemed entirely in his element as the talk rambled around art, politics, history, cinema and food ...."


500 Years of Jewish - Life in Venice
A journey into one of the world’s oldest Jewish ghettos,
where this year a long, rich history is commemorated.


Though you can still see the recesses in the walls where the hinges of the portals once hung, the Venice ghetto has not been a prison since Napoleon seized the city and tore down the gates in 1797. Today, no barrier or signpost marks where Venice ends and its ghetto begins. Cross a canal on an arched bridge, duck through a sottoportego (an alley tunneling through a building), disappear down a vent in the urban fabric — you come and go just like everywhere else in the maze of this island city.

But linger long enough in the Campo di Ghetto Nuovo, the generous, frayed, tree-flecked plaza that anchors this corner of Cannaregio (the quiet northwest quadrant of the city) and you’ll feel the wall of the past closing in. Half a millennium of history does not transpire without stamping the soul of a place.

Established by decree of Doge Leonardo Loredan on March 29, 1516, the Venice ghetto was one of the first places where people were forcibly segregated and surveilled because of religious difference. The term itself originated here; the area had been used as a foundry (“geto” in Venice dialect) and over time the neighborhood’s polyglot residents corrupted the word to ghetto.

I traveled to La Serenissima in December to see how the city was gearing up for the anniversary of the establishment of the ghetto. A major exhibition called “Venice, the Jews and Europe: 1516 to 2016” (on view from June 19 to Nov. 13) was being planned for the Ducal Palace, and during the last week of July, Shakespeare’s “Merchant of Venice” will be staged (in English) for the first time in the confines where its most hallucinatory scenes take place. Venice being Venice, there will also be glittering parties, celebrity-filled fund-raisers and fancy dress galas, starting with the invitation-only performance of Mahler’s First Symphony at La Fenice opera house on March 29.

But in the course of my visit, what I became most curious about was the mood of the current Jewish community of 450 people. Venice is such an impossibly beautiful fantasy, it seems astonishing that ordinary people, Jews among them, actually live there. How, I wondered, did deep-rooted Jewish families feel about their past — and future — in this ancient, vulnerable city?
My first answer came inside the humble, rectangular sanctuary of the circa-1532 Scuola Canton, one of five synagogues still standing in the ghetto. The synagogues are open to the public only as part of guided tours offered by the Jewish Museum of Venice, and that morning just three of us (two other Americans and I) had signed up for the 10:30 tour in English. We were standing with our guide, Silvia Crepaldi, admiring the golden spiraling tree-trunk columns that support the arch over the bimah (podium), when the subject of rising sea levels came up.

“The city will be empty before it sinks,” Ms. Crepaldi said ruefully. “Venice is shrinking before our eyes.”

The urban exodus of both Jews and gentiles has been going on for some time, though the pace has accelerated in recent years.

When the ghetto was at its height in the 17th century, 5,000 Jews from Italy, Germany, France, Spain and the Ottoman Empire carved out tiny, distinct fiefs, each maintaining its own synagogue, all of them crammed into an acre and a quarter of alleys and courtyards. Confinement was a burden, but it also provided an opportunity for cultural exchange unparalleled in the diaspora. As Jan Morris, a Venice devotee and one-time resident, writes in “The World of Venice,” the city was a “treasure-box” full of “ivory, spices, scents, apes, ebony, indigo, slaves, great galleons, Jews, mosaics, shining domes, rubies, and all the gorgeous commodities of Arabia, China and the Indies.”

Jewish merchants and bankers were vital to the flow of these commodities, but as Venice declined, the Jewish presence dwindled. By the outbreak of the Second World War, Jewish Venice had shrunk to 1,200 residents. Today, with the city’s total population hovering around 58,000 (down from 150,000 before the war), there are about 450 Venetian Jews left, only a handful of them residing in the ghetto.

“So now the ghetto is just a shell?” I wondered aloud as Ms. Crepaldi led us across the campo, over a bridge, down a street of intriguing-looking shops, and into a tighter, grimmer square (the Campiello delle Scuole or “little square of the synagogues”), flanked by the two Sephardic scuole.

The answer to my question was revealed inside one of these: the sumptuous Scuola Grande Spagnola (Great Spanish Synagogue), possibly the work of Baldassare Longhena, the renowned 17th-century architect of Santa Maria della Salute. After we had gazed our fill at the elliptical coffered ceiling and the black-columned pediment that frames the ark of the covenant; after we had craned our necks to glimpse the cherry wood balustrade and diamond-hatched panels that screen the upstairs women’s gallery; after our eyes had bathed in the silver gleam of candelabra and the soft glow of crimson-curtained bottle-glass window panes, Ms. Crepaldi pointed to the brass plaques affixed to the pews. “These are the names of families who pay to rent their own bench sections,” she told us. “These families still pray here. This synagogue is used in summer, and in winter they switch to the Scuola Levantina because it’s heated. The Venetian Jewish community may be small, but it’s still strong.”

Calimani and Sullam — two of the surnames inscribed on those plaques — appeared in tiny letters by the buzzer I pressed at 10 o’clock the next morning. Riccardo Calimani, the esteemed historian of Italian Jewry and the author of a book about the Venetian ghetto, had given me very precise directions to his home off the Strada Nuova (a rare rectilinear thoroughfare stocked with shops catering more to residents than tourists).

What Mr. Calimani had neglected to say in his email is that he lives in a palace: a light-bedazzled, soaring-ceilinged, art- and book-lined Renaissance suite overlooking the Grand Canal. As he ushered me into his princely study, the ample, urbane Mr. Calimani struck me as a kind of latter-day Jewish doge.

“My father’s family arrived in Venice from the north of Italy in 1508,” he said, slowing his Italian down to a tempo I could follow. “My ancestor Simone Calimani was the author of a trattato morale [moral treatise], printed in the 18th century when Jewish publishing was flourishing here. My grandfather was the cantor in the Scuola Levantina, even though our roots are not Levantine but Italian and German.” The Venetian history of the Calimani family, I realized, coincides almost exactly with the history of the ghetto.

The palace belongs to his wife’s family, the Sullams, Spanish Jews who took refuge in Venice after the expulsion from the Iberian Peninsula at the end of the 15th century. I knew, from reading Mr. Calimani’s “The Ghetto of Venice” (1988), that Italian and German Jews, the first and poorest to settle in Venice, had been consigned to selling rags and running pawnshops, while the great merchants of Venice were later arrivals from Spain and the Levant.

With tantalizing fragrances wafting out of the hidden kitchen and the velvety light of winter burnishing thousands of leather spines, I could practically taste the history that had made this room possible. The palace may be extraordinary, but the convergence of cosmopolitan currents in the Calimani/Sullam household is quintessentially Venetian.
Their families’ abandonment of the ghetto is also typical. As soon as the ghetto was abolished in 1797, Jews with means fled the high-rise tenements — the tallest buildings with the lowest-ceilinged apartments in Venice — for more elegant, and spacious, parts of the city. But the ghetto remained the anchor of Venetian Jewry. Since travel by gondola was deemed permissible on the Sabbath, the observant had no trouble floating back each week to pray at the scuola of their choice.

Continue reading the main story
Today, the Jews of Venice, though still a proud (if dispersed) community, are invisible. (The black-garbed Hasids you see in the campo are not Venetian but followers of the Chabad-Lubavitch movement who have resettled here from other parts of Europe and the United States.) Mr. Calimani, like every local Jew I spoke to, said he moves unremarked in and out of Jewish circles. “The Venice ghetto,” he told me, “was always more open to the city than the Roman ghetto, which was beset by the conversion mania of the church.”

The dispersal of the community had the unexpected benefit of sending me into unfamiliar neighborhoods in pursuit of interviews. I had been in Venice twice before, but far from growing accustomed to its gorgeous strangeness, I found it endlessly fascinating just to thread the maze, and inevitably get lost in it, on my way to appointments.

The Airbnb my wife, daughter and I rented just off Campo SS. Giovanni e Paolo — the heart of Castello, a still quasi-authentic quarter of working families, schools, neighborhood bars and the municipal hospital — is perhaps half a mile as the crow flies from the flat of Donatella Calabi, a professor of urban history who curated the exhibition “Venice, the Jews and Europe: 1516 to 2016.” But even though Ms. Calabi had emailed me a map with arrows pointing the way, it still required several forays across the nearby Campo Santa Maria Formosa before I hit on just the right “calle” (street in the Venetian dialect).

No matter; it just gave me more angles from which to admire this perfect urban plaza with an austere whitewashed church rising in the center and a perimeter of magnificently crumbling palaces now occupied by restaurants, hotels, banks and the delightful 16th-century house-museum of the Fondazione Querini Stampalia.

As we sat by the windows of her top-floor apartment watching the dome of San Marco go gray against the December dusk, Ms. Calabi spoke with animation of the coming exhibition at the Ducal Palace. “The ghetto provided an incredible occasion for cultural exchange” she said, “and the exhibit will focus on that exchange within the ghetto itself, between the ghetto and the city, and with the rest of Europe.” Artworks including Carpaccio’s “Predica di Santo Stefano” (St. Stephen’s sermon) on loan from the Louvre, virtual reconstructions of the ghetto in various periods, and sacred books will conjure up the rich complexity of this exchange.

Ms. Calabi became more somber when the conversation turned to the present. “Renaissance scholar Francesco Sansovino wrote that for the Jews, Venice was ‘quasi una vera terra di promissione’ — practically a true promised land,” she said. “But today Jewish Venice is a small community within a small city. The 500th anniversary is an occasion not to celebrate — you don’t have a festival for a ghetto — but to commemorate. An unbroken stretch of 500 years of history will not happen again soon.”

I heard similar sentiments voiced later in the week at a packed meeting of an informal discussion group that gathers at intervals to consider issues pertinent to Venetian Jewry. The members had assembled that night in a pretty little house on a canal in Cannaregio near the Gesuiti Church, a Baroque pile that presides over a quarter once inhabited by artisans and artists (Titian and Tintoretto among them). My Italian, though not quite up to the rapid flow of ideas, was good enough to register the passion and erudition that these 30 or so men and women brought to a discussion of their deeply rooted community.

Amos Luzzatto, an esteemed Venetian-Jewish intellectual and the past president of the Jewish Community of Venice, was present, and we chatted for a few minutes about the small Jewish cemetery on the Lido, the “beit midrash” (study room) named for his family that is still in use in the ghetto, and the book by his renowned ancestor Rabbi Simchah Luzzatto that I had spotted in the Jewish Museum.

I didn’t have a chance to ask Mr. Luzzatto how he felt about the state of the ghetto today, but as I picked my way back to SS. Giovanni e Paolo through deserted echoing alleys and over black filaments of water, I thought of a comment he had made in a recent interview posted on YouTube: “The ghetto today belongs to the city of Venice — it does not belong to the Jews. The ghetto has become part of the panorama of Venice.”

The panorama was its most ravishing the day I met Venice’s head rabbi, Scialom Bahbout, for lunch in the campo. Maybe it was the dazzle of another clear December day or the adrenaline of the holidays (Hanukkah was ending, Christmas still a week away), but the campo, which had struck me as rather forlorn on prior trips, now looked like a stage set waiting for a play. (In fact, this summer’s production of “The Merchant of Venice” will be staged right here, notes Shaul Bassi, a professor at the University of Venice who is spearheading the production.)

Mothers pushed strollers in and out of shadows cast by the teetering ghetto “skyscrapers.” Booted and scarfed Venetians clicked their heels across a bridge and disappeared into the inviting trattorias that line the fondamenta (bank) of the Rio della Misericordia canal. A small knot of tourists hovered by the entrance to the Jewish Museum, a charming warren of rooms stuffed with precious objects and books (and slated for a major makeover later this year under the aegis of Venetian Heritage, an international organization dedicated to preserving the city’s cultural riches). I had just enough time before lunch to duck down an alley and browse the elegant Judaica pieces in glass and gold at Arte Ebraica Shalom.

The one jarring note was the makeshift police booth at the far end of the campo. Though there have been no attacks here, the booth is staffed around the clock by Italian police, rarely seen elsewhere in Venice, and the Jewish community has brought in its own private Israeli security guard. The juxtaposition of the armed police and the two Holocaust memorials (a series of bronze reliefs on either side of the Jewish old-age home that encloses one side of the campo) is apt. During the Nazi occupation, some 250 Venetian Jews, including its beloved chief rabbi Adolfo Ottolenghi, were seized from the ghetto and elsewhere in the city and sent to Auschwitz and a Trieste concentration camp. Eight returned.

The conversation touched only briefly on the Holocaust in the course of my leisurely lunch with the rabbi at Ghimel Garden, the popular kosher restaurant that opened recently beside the old-age home. Davide Federici, a local journalist, and the Venetian sculptor Giorgio Bortoli were present, and Rabbi Bahbout, who is highly regarded after two years in the community, seemed entirely in his element as the talk rambled around art, politics, history, cinema and food.

“Did you know sarde in saor” — sweet and sour sardines, a ubiquitous winter appetizer in Venice — “is typically Jewish?” the rabbi asked as the first round of plates appeared beside our glasses of prosecco. I was aware of the influence of ancient Jewish recipes on Roman cuisine, but it never occurred to me there was anything Jewish about the food of Venice, where shellfish (not kosher) figures in so many dishes. I’d also never seen an Orthodox rabbi sipping prosecco.

By the time the pasta arrived, the conversation had moved on to the rabbi’s dream project: a Jewish university in Venice. “The challenge today is to sustain the vivacity of our culture and carry it into the future. What better way than with an international Jewish university?” In Venice today, conservation tends to dominate other concerns — “but what we really need is to construct the next 500 years.”

The rabbi’s American-born wife, Lenore Rosenberg Bahbout, joined us for pinza, a thrifty confection of stale bread and spice. We were chuckling about all the celebrities (Barbra Streisand, Donna Karan, Diane von Furstenberg, Barry Diller) whom Toto Bergamo Rossi, the charming director of Venetian Heritage, had tapped to fund the ghetto restoration project. “It’s wonderful,” said Mrs. Bahbout. “But it would be even more wonderful if this money could be used to restore the soul of the ghetto.”

I contemplated the soul that Saturday morning, my last in Venice, at the Shabbat service in the Scuola Levantina. The high, dim sanctuary was about a quarter full, perhaps 40 men scattered around the benches that ran the length of the room between the massively carved bimah and the red-curtained ark of the covenant, with 15 or so women peering down at us from the upstairs gallery.

I’d been in Venice less than a week, but already I recognized faces — Paolo Gnignati, the current president of the Jewish community; Elly, the strapping Israeli security guard who had warned “no cellphones — they’re Orthodox!” before letting me enter the synagogue; and of course Rabbi Bahbout, distinguished and elegant in his fedora as he chanted the Sephardic liturgy.

Every Venetian I spoke to, Jew and gentile alike, had expressed deep pessimism about the city’s future. But as I sat in this sacred space in the hushed, carless city, listening to the Hebrew prayers and Italian murmur, I felt reassured, not discouraged, by the evidence of time. Since the ghetto was first established, doges, merchant princes, Shylock, Napoleon, the Austrians, the Nazis have come and gone (and in Shylock’s case, will soon return). Through that half-millennium of history, Jews have gathered on Sabbath mornings like this one at the serene cusp of winter to pray and gossip in the Venice ghetto.


The website of the Jewish Community of Venice, veniceghetto500.org/?lang=en, has the latest information about events planned for the anniversary year. The Venetian Heritage Council, vh-council.org, is in charge of the coming restoration of the Jewish Museum and the ghetto synagogues.

“Venice, the Jews and Europe: 1516 to 2016” will be on view at the Ducal Palace (veniceghetto500.org/la-mostra/?lang=en, Piazza San Marco) from June 19 to Nov. 13. Tickets are 19 euros (about $20) and can be purchased online.

“The Merchant of Venice” will be performed outdoors in the Campo di Ghetto Nuovo on July 26, 27, 28, 29, and 31, with a rain date on Aug. 1. The production, in English, is being staged through a partnership between Compagnia de’ Colombari theater company (colombari.org/#!home/c1pbl) and Ca’Foscari University of Venice. For tickets and further information, see themerchantinvenice.org.

The Jewish Museum of Venice is open from 10 a.m. to 5:30 p.m. Oct. 1 to May 31 and until 7 p.m. from June 1 to Sept. 30. Hourly guided tours of the synagogues (in Italian and English) start at 10:30 ( museum admission is €4; museum and synagogue tour is €10). The museum also offers tours of the Jewish cemetery on the Lido, with advance booking. Closed Saturdays and Jewish holidays. For more information, museoebraico.it/english/museo.html.

The Kosher in Venice website, kosherinvenice.com, lists kosher restaurants, hotels and food shops in the ghetto, including Ristorante Ghimel Garden, the recently opened Giardino dei Melograni guesthouse, and Panificio Volpe Giovanni, a bakery and grocery.

The maestro Giorgio Bortoli with Monsignor Francis Moraglia

The Lion in moeca, created by Giorgio Bortoli, offered as a gift to the Bishop Moreglia

Venice, the first days of October 2013

A representative of the National Penitentiary Police (ANPPE) met with the Patriarch of Venice Francesco Moraglia.
At Bishop Moraglia was presented with a sculpture created by master Giorgio Bortoli, a "Lion in moeca" with the cross, a symbol of peace.


ThThe article of the event, published in the journal dell'ANPPE, n. 9, September / October 2013

The article appeared in The Gazzettino October 18, 2013

Cover the poster of the exhibition of the teacher Bortoli entitled "The Chimeras of Peace" at the Hotel de la Poste in Cortina d'Ampezzo (BL) - Dolomiti

Inaugurated the exhibition by Giorgio Bortoli

"The Chimere of Peace"

at the Hotel de la Poste in Cortina d'Ampezzo (BL) in the heart of the Dolomites

period from August to September 2013

La Nuova - Domenica 2 giugno 2013

Il Gazzettino - Martedì 9 luglio 2013

The performance of the artist Giorgio Bortoli

With a Winged Lion Marciano,
front arrives at the park during the inauguration
the Venice Biennale of Visual Arts


Caldiero, Via Fermi (VR)

Installed the statue in memory of
Brother Ildefonso Corrà,

bronze sculpture, height 170 cm, weight 200 kg


The Arena - Saturday, December 22, 2012

CALDIERO - Comings and goings of people via Fermi
Father Ildefonso calls the faithful to his statue
Satisfaction with the family and the author of the work in bronze.

Has been taken recently by Fermi in Caldiero and already there are many people who have visited, offermandosi in prayer, to the bronze statue depicting Father Ildefonso Corrà, the angel of the Balkans.
A forge these two quintals of bronze was the Venetian master Giorgio Borboli, APARENTAL artist known internationally for having made a bronze bust of Maria Callas in Monaco of Bavaria.
"I had a few photos of father Ilde to carry out the work," says Bortoli, "but I remember when Venice was in the convent of San Francesco della Vigna certainly was from him to give me inspiration."
Are you satisfied with the artist above all the fact that the people who knew his father Corrà front of the statue of the monk Gypsy says "That's him. '"
Intact Borboli has withdrawn as it was in the habit a posgualcito, penetrating gaze and that warning finger that has a raison d'esserg explains Umberto I run brother of Father Ildefonso: "It is to show them the right way, to urge a reflect on their work, to remind those who live in comfort that he saw with his own eyes where there is need. "
"I have a picture in which my mother also has the raised index finger," says Umberto "I remember that, during an argument I said that about me, that I had been sent from Caldiero in Malcesine, nobody cared. She took my hand and asked me what the five fingers I would be willing to be cut. Attonito said no and she replied: And you think that I would have a private one of my sons had it not been for his own good? Bortoli I sent to all of these aspects , "says Umberto," To ensure that he could find the right expression of the figure. " Showing that the Venetian master he did it are the people in front of the statue whisper: "There seems to see and speak to us as he once". M.R.

The Supreme Pontiff and admire
the sculpture received complimentary


ROME November 7, 2012

Tribute to

Donated to the Supreme Pontiff, S.S. Benedict XVI, from the National Penitentiary Police, a scultrura made by the master Giorgio Bortoli depicting a Madonna Nicopeja (Bronze cm 33 x 22).

The association hopes to express my heartfelt thanks for the gift which has become a gift to the SS Benedict XVI during an audience in St. Peter's Square Nov. 7, 2012.
The statue, which will be kept in the Vatican Archvi, which remain historically tangible expression ANPE., To the Holy Father.

Thursday, January 3, 2013
A work of art for the Pope

(TB) A sculpture with bronze cross, which reproduces the Madonna Nicopeja of the Basilica of San Marco, was given to the Pope by the National Penitentiary Police, on the initiative of prsidente of Venice, Vitantonio Petrelli.
The valuable work of the Venetian sculptor Giorgio Bortoli, was delivered personally to Pope Benedict XVI by the deputy head of the prison, Simonetta Matone.
The work is distinguished by the sign of the heraldry section of Venice Association.


The artist Giorgio Bortoli and illustrates the characteristics of the Holy Father

Detail of the Madonna Nicopeja with a crucifix - Bronze 33x22 cm

Letter of thanks from the Secretary of the Vatican State to the artist Giorgio Bortoli for the realization of "Madonna Nicopeja"

Letter of thanks from the A. N.Pe.
the Artist Giorgio Bortoli for the
realization of "Madonna Nicopeja"

Letter of thanks from the Patriarchal Curia of Venice to the artist Giorgio Bortoli.

June 18, 2012 - The sculptor Giorgio Bortoli delivers the sculpture on the rebirth of the Phoenix to the Prefect of Venice, Domenico Cuttaia.

The rebirth of the Phoenix and the Belfry

A work of sculptor Venetian George Bortoli has been given,

Prison Police Association,

the Prefect of Venice

June 18, 2012

June 18, 2012 - The scultora reralizzata by Maestro Giorgio Bortoli, donated to the Prefect of Venice, Domenico Cuttaia.

La Nuova Venezia - Saturday, June 30, 2012
The prefect a sculpture on the rebirth of the Phoenix and Bell

In recent days, a delegation of the National Police Prison, Section of Venice with the provincial president Jonelle Petrelli, Secretary Stephen Rubin and sculptor Giorgio Bortoli - was received by the prefect Domenico Cuttaia. The meeting, submission of documents with which it is certified I'autenticità delivered to the prefect of the sculpture from procuatore head of the Republic, Louis Delpino, during the exhibition "Lest we forget", organized dall'Anppe Venetian April 28.
Giorgio Bortoli's sculpture is the first page of the special edition dedicated to the fire of the Phoenix 1996, Phoenix set in a bronze composed by the artist along with a piece of burnt wood of the theater.
The basis of the work - on the occasion of the centenary of ricostruziome - I'artista set a piece of brick of the historic San Marco bell tower collapsed in 19O2, recovered along with other pieces by the sculptor himself, during some of his diving in the Adriatic, where the bricks were sunk sunk.
The prefect Cuttaia thanked the association for organized events and "especially for conferences to learn the law for young people in various schools in the city and the Venetian hinterland," urging I'associazione Prison Police to continue in action of civic information, giving his full readiness to participate in new initiatives.

Il Gazzettino di Venezia - Sunday, July 8, 2012
The prefect of the Penitentiary Police Association

In recent days, a delegation of the Venice section of the National Penitentiary Police led by provincial president, Vitantonio Petrelli away by the secretary, Stephen Rubin and sculptor Giorgio Bortoli was received by the prefect, Domenico Cuttaia which was given a 'work of the Venetian.

Friday, June 17, 2011 - Geneva - Palais des Nations

The work "Compassion" sculpture in bronze and steel (100 x 60) is now part of the collection of works of art
United Nations Office in Geneva

Finishing touches before the opening

Final installation of the artwork "Compassion" at the Palais des Nazini, Geneva

Phases of the official presentation of the artwork "Compassion" to the Palais des Nations in Geneva

The master Giorgio Bortoli with the work God has done:

Phases of the official presentation of the artwork "Compassion" to the Palais des Nations in Geneva

Phases of the official presentation of the artwork "Compassion" to the Palais des Nations in Geneva

The plaque explaining the work of art "Compassion"

Phases of the official presentation of the opera "Compassion" - left the director of the Palais des Nations

Phases of the official presentation of the opera "Compassion" - left the director of the Palais des Nations

Phases of the official presentation of the artwork "Compassion" to the Palais des Nations in Geneva

Phases of the official presentation of the opera "Compassion" - left the director of the Palais des Nations

From left to right: Ms. Valentina Patta, Maestro G. Bortoli and Dr. Massimo Marrella

Phases of the official presentation of the artwork "Compassion" to the Palais des Nations in Geneva

Phases of the official presentation of the artwork "Compassion" to the Palais des Nations in Geneva



Saturday, June 4, 2011

The Lion of George Bortoli visit the entrance of the Biennale di Venezia


8 May 2011

For 50 years the Airport - The Pope of the sculpture Bortoli

The Pope, during his recent visit to Venice, he inaugurated, blessing, a sculpture of George Bortoli created for the 50th anniversary of the Marco Polo.
On 8 May, before leaving Venice, Pope Benedict XVI
stopped a few minutes in the reception hall of the Venetian port.
In the presence of civil and religious authorities (including the Patriarch Scola, the Minister Sacconi, the governor Zaia, the prefect, the mayor, the president of the Province and the chairman of the airport, Enrico Marchi) has blessed relief.
It is a work in bronze, measuring 1 meter for 50 cm, representing a plane, cast aluminum alloy, which takes off on passing the Basilica and the Campanile di San Marco, the relief is stylized and antique green with oxidation.

(Photo: Pope leaving from Tessera has blessed the work)

Marina Ripa di Meana received by Maestro Giorgio Bortoli the Phoenix Bronze God
has done.

December 10, 2010
Restaurant "Per la Rosa" in Mira

Presentation of the Book

Virginia Agnelli
Mother and Butterfly

Marina Ripa di Meana and Gabriella Mecucci

Cover of the book with the dedication of the writer:

"A George, our old friendship with many compliments for the great talent "

IN THE NAME OF MOTHER - Arts and Culture in Motta di Livenza (TV) - September 2010
New Teacher Bortoli sculpture titled Mother of Miracles, Installed at the Church of the Hospital of Motta di Livenza.
High relief sculpture in bronze, steel and Murano glass, permanent installation.

Invitations to the Festival of Arts and Culture

Brochure (front)

Poster (back) with photos of the works to the exhibition Art and Culture.

The Gazzettino di Treviso, Saturday, October 2, 2010

Settimanale della Diocesi di Vittorio Veneto: L'Azione
10 ottobre 2010

Tribuna di Treviso, Saturday, October 2, 2010

The Gazzzettino, Sunday, September 19, 2010

The personalities present at the inauguration and blessing of the new sculpture of the master Bortili: Mother of Miracles. From left to right: Mayor of Motta di Livenza I, the artist Giorgio Bortoli, the prefect of Treviso immediately behind Bortoli, The Bishop of Vittorio Veneto and the President of the Hospital of Motta di Livenza

Giorgio Bortoli the center with the authorities present at the ceremony

The sculpture "Madonna of the Miracles" created by Bortoli

Bortoli together with Dr. Art Criticism. Santin, behind the wall of the church where the sculpture was installed

Unveiling of the sculpture during the opening ceremony

Title page of publications on the history of the Hospital of Motta di Livenza

Back of the publication with the picture of a sculpture by Bortoli





RAI 2 - Saturday, July 24, 2010


Music program led by Amadeus
Photo: Alexia Amadeus rewards with the work carried out by the teacher Bortoli


On the left, the work undertaken by Master Giorgio Bortoli. Sculpture using bronze as a pedestal of stone from the Campanile of San Marco collapsed



March 2010
Venice - San Servolo Island
Delivery of the Medal "A Chinese Garden in San Servolo" of the Province of Venice (Venice International University).

Arrigo Ciprani is winning at the teacher Bortoli

Arrigo Ciprani is winning at the teacher Bortoli

October 2009
Arrigo Ciprani of the restaurant "La Perla Rossa (You Red Pearl)" winning with a sculpture realized by the Teacher Giorgio Bortoli, realized by a head of lion with bell tower of St. Mark in bronze, the all above a brick of the old bell tower collapsed of St. Mark.

November 2009 - Even Mickey Mouse has the stone
of St. Mark's Campanile
Mira (VE) - Teatro Villa dei Leoni
City of Mira Award for art and culture in Europe

Giorgio Cavazzano, designer of Walt Disney, one of Mickey's dad. was awarded in November 2009, with the sculpture "stone lion on the Campanile," by Maestro Giorgio Bortoli.


"Materiche armonie dell'arte" - Thursday, September 10, 2009

Mensile di informazione culturale del nordest
n. 7 luglio 2009

The Marciana
Those matters creative harmonies

VENICE - In the wonderful frame of mannerism in Venice that is admired in the ceiling decorated with grotesques on a gold Marciana National Library, was set up a group of contemporary art, "Mater harmonies of art," with four artists: two painters, Joseph Kaliher and Pia Parodi, and two sculptors Giorgio Bortoli and Paola Crema.

"Venice is becoming a major international centers for contemporary art," he declared with satisfaction, opening the city councilor, Luana Zanella, expressing his appreciation to the Director of the Marciana, Maria Letizia Sebastiani, which introduced , for the beautiful and elegant exhibition, and the major initiatives of the Library is always open to the territory. Stressed, inter alia, the active and valuable cooperation established with the local administration. The exhibition was organized by the Cultural Association AMI.BE.C (Friends of Cultural Heritage), an association of employees of the Ministry of Heritage and cultural activities open to all who manifest interest in art and culture.

Bortoli, famous Venetian artist, spoke passionately of the "hard work of the sculptor wielding marble, bronze, glass, steel, putting the heart." Cream, eclectic artist, uses various materials, ornaments, from silver to pearl, rock crystal from the bronze. For Kaliher, his paintings, including surrealism and conceptual, are without a title because "I appeal to the hearts and psyches of people and everyone can see in my work according to their own feelings. The colors are bright, vivid, and as he says the Gospel, we must turn children, with the innocent eyes to see and understand. " Parodi instead of his paintings, said: "I paint my emotions" which resulted in the wonderful light that floods panoramas and landscapes.

The review fits well for its artistic and documentary in the spirit of enjoyment and appreciation of works by contemporary artists in one of the most important and valuable artistic and cultural heritage of the world, a jewel of culture and beauty. Maria Teresa Seconds

"Matter harmonies of art"
Thursday, September 10th, 2009 at 17:00

The Biblioteca Nazionale Marciana, the ancient Venetian and careful guardian of the memory retains its priceless heritage and historical sites in two prestigious Venetian 1'edificio of LibreriaSansoviniana and Old Mint. The Hall of the Library presents a pictorial decoration of the ceiling, decorated with grotesques on a gold ground, which is a grand cycle expressed in rounds, the work of several artists whose design draws from a comprehensive iconographic part of the possible activities that open to the patrician or the Citizens for the Republic, on the other disciplines that represent the constituent clement dcl know. Such is the importance and the number of works that the ceiling has been called the manifesto of mannerism in Venice.
E 'in this framework that the Bibliotcca National Marcianaa houses a contemporary art collective of four artists: painters Joscph Kaliher and Pia Parodi and sculptors George Bortoli and Paola Crema. The works on display through naturalistic vision, dreamlike or mythic, each of which is the bearer of artists and interpreter, allows for a common path in which they are made to factors common experiences and construction capabilities of the various artists in order to give everyone a ' wide and varied cultural offerings.
The exhibition, organized in collaboration with the Cultural Association AMI.BE.C (Friends of Cultural Heritage), good fits to its artistic value c documentary perspective of enjoyment and appreciation of works by contemporary artists within a the most important and valuable artistic and cultural heritage of the world, culture is a jewel of beauty.

Maria Letizia Sebastiani
Director of the Biblioteca Nazionale Marciana Marciana Library Naziozionale

No Piazzetta San Marco 7
30124 Venice Tel: 041.2407211 Fax: 041.5238803
http:/ / marciana.venezia.sbn.it
Press Office Annalisa Bruni
041.2407238 - bruni@marciana.venezia.sbn.it

Holy V. is cordially invited
Thursday, September 10th, 2009 at 17:00
inauguration of the exhibition "harmonies Materiche art" - Artists: Giorgio Bortoli and Paola Crema (sculptor) - Joseph Kaliher and Pia Parodi (painters)

Venice, vestibule of Librenia Sansoviniana
(Piazzetta San Marco 13 / a) - Vin d 'honneur to follow

Giorgio Bortoli

Venetian sculptor. His vocation artistaca originates in the family, the paternal grandfather was in fact a painter and sculptor. His training took place in workshops, learning how to work the marble by marble workers, carpenters and iron from the blacksmiths, glass in Murano, in foundries. The sculpture is his world. And 'think ideally what one feels inside, a great energy that one tries to transform. The sculptor is a transducer that takes this energy and transforms it mechanically. His works are exhibited in many museums in Italy and abroad.

Joseph Kaliher

E 'born in Dallas, Texas, United States of' America. Raised in Italy and England, was the school of Maestro Maurizio Martelli Accademia delle Belle Arti in Florence. She then graduated from the renowned Institute Superieur de Peinture Van Der Kelen et Longelain in Brussels, where he specialized in painting trompe l'oeil, under the tutelage of Master Clement Van Der Kelen. His work in the surrealist genre is an interpretation of the philosophy that Joseph himself has baptized Genuina Rhetoric.

Paola Crema

Eclectic artist, founder of the movement "Artists Framers, antiques, art lover and connoisseur of the world of jewelry (it's one of three artists who represented Italy in the exhibition of the passage of the millennium all'Ilias Lalaounis Jewelry Museum in Athens) , has created sculptures in mother of pearl, bronze and silver. His works have been presented at museums in Antwerp, Istanbul, Ankara, Cairo, Singapore, Tel Aviv and Kuala Lumpur. Expresses its versatility by using various materials, always extremely valuable or she embellished.

Pia Parodi

Born in San Remo, resided for many years, done in Rome began his artistic education by attending the Scuola Libera del Nudo - Academy of Fine Arts at the school of Maestro Antonio Necci, Alonso took his very personal style characterized by landscapes designed for mostly with oil paints, full of reminiscences of the Impressionists, where light and delicate colors and try to convey the emotion that in turn changes with narrow places into feelings of peace, harmony, desire to be part of those landscapes almost taken on loan from a dream, serene enough to make us forget, at least for a moment, the vexations of daily life

"Materiche armonie dell'arte"




Inauguration Venetian FAVARO (VE), 2009
Of the Square devoted to the Riders of the Republic

Letter of the General Secretariat of the Presidency of the Republic.

Dear President, the President of the Republic has received a photograph of the inauguration of the Square Knights of the Italian Republic, the monument made by Cav. Giorgio Bortoli in the City of Venice and thanks you very much.

The commitment by the National Knights of Venice Italy section reflects the founding spirit of the Order of Merit of the Italian Republic. "
I gladly take this opportunity to warmly Salit and send you good wishes for the New Year.

(Giulio Maria Viola)


The Gazzettino in Venice
Domenica June 28 th 2009 A tall rampant horse almost three meters for the new square of the Riders of Italy. The inauguration of the monument to the Riders of the Republic to Favaro

(M.D.L) he is developed you to Favaro the ceremony of inauguration of the Square Riders of the Italian Republic yesterday. It deals with the first space in Italy devoted to the Riders of the Republic: it is situated in the area close to the gym Rodari in the street Charles Agnoletti and to the center of the new Square he has been situated a monument created by the artist Giorgio Bortoli in honor of the title.
The work, tall 2,70 meters for a width of 1,35 meters, are realized in steel on base of cement and marble and it represent a rampant horse reproduced in three placed side by side outlines the one to the other that you are inspired to the eighteenth-century wooden foals that adorned the stables of Villa Pisani to Stra.

The monument reproduces an impression of dynamism and speed that it is accompanied to the nobility of laying of the animal.

To the ceremony, unwound herself under the rain, they were present Ennio Radici, president national Riders of Italy, the provincial president of the Unci Roberto Scarpa, the district delegate of the same association Oar Of the Augellis, the president of the Municipality of Favaro Gabriele Scaramuzza, the regional alderman to the mobility Renato Chisso and the President of the Council comúnale Renato Boraso. There were, besides, quite a lot associations of weapon, a representation of the association fighting and legionaries, of the Lagoon ones and of the Policemen and the delegates of the Unci of different sections of Italy among which Bergamo and Verona.
After the alzabandiera and the benediction imparted by the priest of it Enrolls Mr. Lionello, you have taken the word the authorities intervened that you have praised the social function that the union of the Riders of Italy develops towards the neediest classes.

LA NUOVA - Favaro - Campalto
Domenica 28 June 2009 Inauguration Wet Á. FAVARO
Here is Square Riders of the Republic

FAVARO. Cut of the ribbon for the square Riders of the Italian Republic. In so many yesterday morning, despite the rain, they are found again at the street Annia, in front of the residences of recent construction, to witness to the inauguration of the first space devoted in Veneto to the Riders of Italy and the scopertura of the monument to the Riders of the order to the worth of the Republic.

Present Renato Boraso, president of the town suggestion, the regional alderman Renato Chisso that you has brought the regards of the governor Galan and the president of Favaro, Gabriele Scaramuzza. But there were above all the representations of the union National Riders of Italy coming from all the parts of the province with the national president. (but.)

The Gazzettino di Venezia
Saturday June 27 th 2009 UNCIs - Inauguration today to Favaro of the pitale devoted to the Riders of the Republic

MESTRE - On initiative of the Venetian section of the Unci (Union National Riders of Italy) it is inaugurated today officially Saturday at 10 o'clock, to Favaro Veneto, the square devoted to the Riders of the Italian Republic.

During the solemn ceremony - to which regional, provincial and town authority is been invited - the monument will be discovered to also honors him some order Á. the Worth of the Italian Republic. An event of a certain relief from the moment how such toponimo is the first one of its kind in Italy.
Mauro De Lazzari

The Gazzettino di Venezia
Saturday June 27 th 2009 A square devoted to the Riders of Italy
It is the first one in Veneto, this morning the ceremony of inauguration

(M.D.L.) You will take place this morning at the 10, to Favaro Veneto, the ceremony of inauguration of the Square Riders of the Italian Republic.
It deals with the first space devoted to the Riders of Italy in the Region Veneto and it is situated in the area close to the gym Rodari in the street Agnoletti to Favaro.
For the occasion it will be open to the presence of the authorities the monument to the Riders of the order to the worth of the Italian Republic realized in honor of the title, and situated to the center of the square.

Work of the artist Giorgio Bortoli, the monument represents a horse "rampant" reproduced in three placed side by side outlines the one to the other and he is inspired to the eighteenth-century wooden foals that adorned the stables of Villa Pisani to Stra.
The monument reproduces an impression of dynamism and speed, that it is accompanied to the nobility of laying of the animal.
The work, tall 2,70 meters for a width of 1,35 meters he is realized in steel "courtain" on base of cement and marble.
To the ceremony they will be present the president of the Municipality of Favaro Veneto Gabriele Scaramuzza, the Town President of the Council of Venice Renato Boraso, the alderman to the Public Jobs of the Region Veneto Renato Chisso.
They will participate besides the representations of the union National Riders of Italy and the national President of the same Union.

Friday June 26 th 2009 Riders of Italy, Venetian assembly.

You will hold to Favaro Veneto tomorrow, the provincial assembly of the honored to the orders of the Republic, with the inauguration of a plaza with the monument, devoted to the Riders of the Italian Republic: it is the first one in absolute in Italy. After the intervention of the provincial president of Venice, Roberto Scarpa, scheduled the discourses of the national president Ennio Radici, of the deputy Marcello Annoni, and of other authorities.

Honors him of honor chivalrous of the Republic, the partners of the UNCI (Union National Riders of Italy), with relatives and sympathizers, they are guests to participate.

For further information and bookings to turn to the deputy national president and provincial president Unci, Marcello Annoni (phoning the number 035.259306).

La Nuova Venezia
Saturday June 27 th 2009
FAVARO Stamattina the inauguration of the new square Riders of the Republic

FAVARO. This morning beginning from the 9.30, the square will be inaugurated Riders of the Republic, situated in the area close to the gym Rodari in the street Annia. For the occasion it will be open the monument to the Riders of the order to the worth of the Italian Republic realized in honor of the title and situated to the center of the square. Work of the artist Giorgio Bortoli, the monument represents a horse «rampant» reproduced in three outlines to the broadsides the one to the other.

Inspired to the wooden foals of the '700 that they adorned the stables of Villa Pisani, the monument it reproduces an impression of dynamism, beauty and speed. The work, tall 2,70 meters for a width of 1,35 meters he is realized in steel «courtain» on base of cement and marble.

To the ceremony they will participate the president of Muncipalità, Gabriele Scaramuzza, the town President of the Council, Renato Boraso, the regional alderman Renato Chisso and the representations of the union National Riders of Italy. (m.a.)



Saturday April 19 th 2008
Room of the Reason for the Museum of Asolo
The Show will be open from the Tuesday to Friday from the 15 to the 19
Saturday, Domenica and festive from the hours 10 at 12 o'clock and from the 15 to the 19. Closed Monday
Exposure of William Monti and George Bortoli

Possession the sculpture as gift for George Bortoli
Venetian, Venetian, until too much Venetian. But this gives a further quality and a seal of origin to the job of form and subject of George Bortoli. Idea to engrave a wish to the most varied material of the art, evokes its distant origin in a family of typographers, in a Venice where the press and the sketch of the characters he has become the form of the message of the written culture and glance. Close to this art by now ancient the fact that the family Bortoli has worked in the century of the electricity to create the light and the discreet shades in Venice, it puts George in the difficult art to connect and to solicit past and present, that are images so connected indistricabilmente in the stones and in the waters in Venice. His is a diffused art that deepens the technical fusories for the arcane symbols in Venice that become now and always contemporary. / flying lions (1987) they swim in a liquid air, You phoenix (1988) it takes back the bronzy form of an icon saved by the waters and by the fire or the other Phoenix (1997) that it revives from the liquidity of that fire that becomes glass or the triplex irons of the Gondola (2001) swaying and semilucidi in the glass acidato. He anchors a Jellyfish (2004) howling with his furious serpentellis, but as saved and thrown above by a drowning, it expresses a brutal beauty as he knows how to be Venice especially in the comparisons of his artists.
Here that beyond the whole iron wish of George Bortoli, it flexes and it shapes the iron in a series of more connected representations to the celebration of the arts of the sound and the rhythm as Paganini (19861 and the Paganinis (1988) jokingly started blarneying to the plural, so a desired clarinettist and lost for Venice Woody Allen (2004), as well as various Ballerinas it suspended with the circle of the braccias (1998) or as they walked in point of feet above the water of the low lagoons (2007). The alternating Personality (1990) it proposes with rare effectiveness the comic and symbolic effect dl too many exposed characters and unconsciously crushed by their improponibile humor. These figures of Bortoli are assimilated to the first Eccentricities (1624) as they were note called, the joined and polymorphous creations of Giovanni Baptist Bracelli, close to the helpful courtesy of the Manuesse (1987J that it approaches her to the manikins danzanti of Oskar Schlemmer. Aspects ironic these that go toward the mocking conscience of the ready made as her Chair of the Mayor (1989) or toward affirmations well more tragedians of the plague of the century, the Aids (1992) in the years of his/her slow epidemic decline. But what notices the energy of the spirit that the fleeing reality and the Leo Alato (1987 and 1997) that it brandishes" the sword against the insane idleness of his/her same inhabitants, that the creative energies of George Bortoli really they don't bear. Himself goes to ripescare from the city of the forgetfulness the dead bricks and I submerged of the old bell tower of St. Mark, saving them and risignificandoli one to one, after the dump in sea of the rubbles of the collapse (1902) and their abandonment in the arm of sea to the mouths of san Nicolò of the Beach. But this oscillating creativeness that frequents the different materials toward an orientation of affirmations and truth it spent on his own one hundred varieties, is amazing and even marvelous that isolate him and as you save him from a tortuous and forgotten history and can become a very particular gift. Certainly a true prize that seals in conclusive way an action artistic fact and brought defeasible from others. The sculpture of George comes as to call out of the condition of abandonment and makes him recognizable in the celebration and in the gift, for example integrating that wheel of the dreams that is the cinema spool. A small wheel to five rays that it becomes in plain and in lifted the historical emblem of the cinema, the last and seventh art in the contemporaneity. This happens thanks to the gift of his different arts so you weave to the various and colored subjects gone out of a fire, now possessed and tamed, from him as artist.
Manlio Brusatin Asolo, Easter 2008


George Manfren Bortoli was born in Venice, where still alive and he works. One artistic formation has origin in family. The Bortolis at the end of the '500 were typographers, then in the first Nine hundred they contributed to illuminate Venice cabling her/it. Aside maternal, his grandfather was a good chisels, in demand in Germany. The taste of the innovation, the awareness of the progress they are given presents in his nature.
The young Bortoli has the opportunity of knowing the August sculptor Murer, during the stays in mountain, beginning to carve the wood. Subsequently it follows the suggestions in painter Borsato's study, exposing Bevilacqua to the Foundation the Masa. It grows working to the Theater her Phoenix, it devotes him to innovative searches in sculptural field, frequenting and discussing to Ca' Foscari with the critic and teacher Giuseppe Mazzariol, that he saw in Bortoli a Luca Di the Robbia "that it ever experimented in continuation arts and sciences sights." The historian of art Guido Perocco often goes to find him in his study to the Alberonis of the Beach and will write: "between the sea and the lagoon, near the lighthouse, among the trees, detached by the World... the young intelligent sculptor that the thin thread of the imagination follows for going over the limit, having waves and clouds as first subjects... ".
It doesn't attend academies, but only studies of painters and good artisans as the artists of once, that were to shop from a teacher. The experience in Germany with the architects planners of the Olimpiaspark of Monk the door as the rector of the University institute of Architecture has told Marino Folin the "overcoming of the divisions among the arts", in this case the sculpture and the architecture, in the nature; so its archiscultura is born in steel and glass of 12 meters that it is found to the Airport in Venice. Idea sustained by the philosopher and mayor Massimo Cacciari that it brings George Bortoli to collaborate in the Office of the Cultural Good, with the intellectual and artist Guglielmo Monti, Superintendent to the Architectural Good. Same give Office, the title of Rider of the Republic him is conferred for artistic worth.

Committees of works:

Committees of works you specifically conceive for representing the professional history of some important firms that you/they have wanted to tie his/her own name to an exclusive work of George Bortoli: Zeta 3 Couches - they Contemplate, Water Mineral S. Benedict S.p.A. - Scorzè, Love Café - Marghera, Libco - Milan, Fincantieri S.p.A. - Trieste, New Pansac S.p.A. - Mantua, Sews together Regional and Board of Veneto, Theater You Phoenix - Venice, Bench of S. Marco - Venice, Ancestress and AVAL (hotel keeper) for international show of the Cinema, The Gazzettino S.p.A., Astoria Vini - Treviso, Metraspeed - Marghera, Common of Venice, Gatorade - Milan, Ciga Starwood - New York, Mana Malcontenta - Venice, Cooperative Credit of Marcon - silver Letter Prize by F.lli Aquilani - Viterbo, the Venetian's Bank, New Gondola of gold, Casino in Venice S.p.A. Its works show up near numerous deprived collections and museums in Italy and to the foreign countries.

they have written:

Guido Perocco, Joseph Mazzariol, Sandro Menegazzo, Beatrice H. Guthrie, Silvio Fuso, Gianfranco Pontel, Ersilio Tonini, Ermenegildo Fusaro, Massimo Cacciari, Bruno Rosada, Marta Marzotto, Vittorio Sgarbi, Paola Puccinì, Stephen Zecchi, Alberto Francescani, Sea Folin, Paul Costa, Claudio Zanuttigh, Franco Perlasca, William Monti, Roberto Turetta, Manlio Brusatin.

Presentation of the entitled book:

Villas give Palladiane to the maintenance of the landscape: juridical regime and fiscal regime

edited by William Monti and Caesar Crova

Publishing House IL PRATO
41/43 Lombardy street - 35020 Saonara (PD)
Ended to stamp in the month of March 2008 near the Graphic Arts Padovane of Saonara (PD)

In cover teacher Bortoli's work: Villa Emo, tall relief in bronze on steel inox. In the layout of the volume George Bortoli and Ann De Martin they have followed the Technical Coordination

IX Settimana of the Culture

March 29 th 2008 - Meetings d' Art

Collective show - Near Villa Pisani to Stra



in the photos to the left, the panel with the realized works
from the Teacher Giorgio Bortoli

Prize of Poetry "silver Letter"

IL GAZZETTINO - Thursday April 3 rd 2008

Silver letter, the triumph of the poetry
To the theater You Phoenix also happened of the literary Biennal exhibition Among the guests the child of Savior Quasimodo


Great poetries read by famous actors that, for an evening, they have so "lent" their voice to exalt even more of it, the go it - king, on the notes of the orchestra that, live you has accompanied the various ones, "performance."
These the ingredients that, Tuesday evening, they have decreed the triumph of the poetry to the Gran Theater you Phoenix of Venice. The worth is of the second edition of the "silver Letter" Biennial of the poetry, conceived and wanted by the entrepreneur Sandrino Aquilani ex mayor of Vetralla. The formula of the second edition has traced that experimented in 2005 to the Beach. In contest there were thirty poetries, all unpublished ones, works of as many authors.
To the first place, according to the verdict of a jury composed by five experts the poetry you is classified "A Quito is four the seasons" of Franco Buffoni, read and interpreted by Alexander Quasimodo (child of the poet Salvatore Quasimodo), per second place "The Space and the time" of Angel Sagnelli read by Edward Siravo while the third step of the platform has had a "ex aequo" with "You black suitcase” of Giancarlo Presenda and "The shade”, writing and glance from Marcello Modugno, child of Domenico Modugno, follows also in the stage from her child that he bears the same name of her grandfather, Domenico, and really Tuesday turned 8 years old.

In the cast of the demonstration to be remembered the famous television actor Nando Gazzolo, accompanied to the piano by George Onorato Aquilani, but great applauses have been reserved to all the artists, among which, the teacher Mogol (winning as the poet that has written for the music), George Albertazzi, Giancarlo Giannini, Enzo Decaro, that the promise of its presence to maintain has done a real "tour de force", while Arnoldo Foà has been present in video in how much busy to Rome in the recitation, as well as the Venetian poet Gino Pastega.
The evening, introduced by the actress Tiziana Bagattella, you/he/she has been one authentic "marathon of the poetry", long more than four hours. The artists, have been winning besides with sculptor Giorgio Bortoli's original work. In the first row, among the guests, the teacher Paola Mildonian, in representation of the Unesco that he has adopted the event in lagoon for the world Day of the poetry, the alderman to the culture of the Comune in Venice Luana Zanella and that provincial Nicola Funari, the president of the Casino in Venice, that has sustained the demonstration, awocato Mauro Pizzigati. To deep night the various awardings are followed with then the appointment final datum to all for 2010.

Lawrence Mayer

Giorgio Bortoli a sin. con Giulio Repetti, in arte Mogol

Nando Gazzolo a sin., Giorgio Bortoli al centro e Giancarlo Giannini a destra

Giorgio Albertazzi (a sin.) con Grgio Bortioli


Biennial of the Poetry silver Letter
1° April 2008 second edition
www.biennaledellapoesia.it Press release

The date in which the second Biennal exhibition of the Poetry silver Letter will develop him you/he/she has been fixed for April 1° th 2008, to Venice, near the Theater The Phoenix.
In synthesis, a true Sanremo of the Poetry, that will succeed in putting together the most prestigious names of the world of the poetry, of the theater, of the music (Poets, Actors, Composers and Managers of orchestra). A prestigious stage, a great orchestra, unpublished poetries, musical structures to theme compotes on the poetries, the most beautiful voices in the Italian theater, managers of orchestra that alternate him national and international guests.
Among the poets that have already sent their poetries we find: Maria Luisa Spaziani, Alda Merini, Andrew Zanzotto, Ennio Cavalli, Franco Buffoni, David Rondoni, Antonella Anedda, Renato Minore, Alexander Fo, Gabriella Sica, Conrad Calabrò, Dante Maffia, Sergio Zavoli, Helen Clementelli, Alberto Toni, Stefania Lubrani, Angel Sagnelli, Gianni Pizzolari, Daniel Pieroni, Giancarlo Pontiggia, Joseph Mannino, Vittorio Squillante, Dania Lupi, Ivan Nossa, Lucy Monaco and other anchor.
Among the actors we find, Nando Gazzolo, Arnoldo Foà, Kim Red Stuart, Marcello Modugno, Marisa Solinas, Enzo Decaro, Tiziana Bagatella, Piermaria Cecchini, Edward Siravo, Vanessa Gravina and others. Between the musicians and managers of orchestra Renato Serio, Said Mariano, Pino Donaggio, Angel English, Amedeo Minghi, Vittorio Iué, Christmas Massara, Maurice Abeni, Roberto Procaccini, Tub Carollo, George, Stephen Borzi, Cristian Mele, Fred Cecchini. Among the guests, Alexander Quasimodo, then a poet that has written for the music: Giulio Rapetti in art Mogol and others two prestigious presences George Albertazzi, Giancarlo Giannini.
The event has gotten the Patronages of the Commune in Venice, of the Province in Venice, of the Region Veneto, of the SIAE, of the IMAIE, the adhesion of the President of the Republic Italian George Napolitano with the assignment of a silver medal, finally the Patronage of the Italian Committee Nazionale for the UNESCO, within the World Day of the Poetry. The press conference of presentation will be held by the Mayor of Venice Massimo Cacciari, with the presence of the Assessora Luana Zanella, of the President Sandrino Aquilani and numerous guests of the world of the culture and the show, on March 20 to her times 13 to Ca' Doublets near the center of the Commune.
To support of the event the project "you Promote Culture he/she Adopts a Poetry silver Letter" You Curcio Editore will take care of the publication post event with attached DVD.
Biglietti/Tickets near the net of sale FIellovenezia www.hellovenezia.com Sponsor partner Country house' Of Venice and F.LLI AQUILANI.
Uff. It stamps Letter Á. srl

Biennial of the Poetry silver Letter
1° April 2008 second edition


The official Prize, in bronze and from the silver letter, you/he/she is constituted by a pedestal done to head of lion they March, where from the mouth it escapes a puff that a sphere sustains, that the World represents cut in two parts with engraved the sentence " beauty that joy was them of it eyes to all of them other saints" drawn by the Heaven of the Divine Comedy of Dante Alighieri. Above of all detaches her/it "silver letter." The sculpture is of the Teacher Venetian George Bortoli.

I REWARD Á. THE BEST POETRY: the poet they are winning - the musician - the interpreter.
I reward to the II and Classified III Poesia: the poet they are winning, the musician, the interpreter.
I REWARD Á. THE CAREER. During the evening the Prize will be attributed to the career "Biennial of the Poetry silver Letter" to artists that are particularly separate in the field of the Poetry, of the Music and of the Theater.

The followings will be founded special prizes:

Prize special silver Letter Common of Venice: it will deliver the Mayor of Venice
Prize special silver Letter Casino in Venice: it will deliver the prize the President of the Casino Prize special silver Letter IMAIE: it will deliver the President of the IMAIE
Prize special silver Letter SIAE: it will deliver the President of the SIAE
Prize special silver Letter UNESCO: it will deliver the President of the CNI of the UNESCO Prize special silver Letter CURCIO Editore: it will deliver the President of the C.d'A. Prize special silver Letter F.LLI AQUILANI: it will deliver the Amm.Delegato

It visits the site www.biennaledellapoesia. it

January 9 th 2008

Bortoli, cromie and plasticismi
VENICE - (T.B.) In the ex church of "Saint Marta", to the College "Romano" of Rome, you/he/she has been inaugurated in the last days the third edition of the show "Cromie and plasticismi", that entertains also some works of the sculptor Venetian George Bortoli. As always the artist lidense proposes him with a caratterizzante interpretation of measured linearity succeeding in conjugating

his/her own compositions with delicate flexuosity and a spigolosa in the justness of the curvilinear ones to great effect materico.
The works of Bortoli are graven in bronze and steel inox with the addition of brassed material and they appear engraved with cut of measures almost combined to give a pulsation of great intensity and fluorescent realistic result of it.

November 22 nd 2007

From first December «Cromie and plasticismi»
Saturday first December to her times 17 will be inaugurated the third edition of the show of contemporary art «Cromie and plasticismi» in the splendid spaces espositivi of the monumental complex of the ex Church of Saint Marta in plaza of the College Romano 5.

The exposure, promoted by the cultural associations «Friends Cultural Good» and «Marghera Venezia New York» it intends to introduce, of time in time, different experiences of artists coming from Italy. Among these Ann Ferrari, William Monti, Pious you Parody, Walter Redivo and the sculptors Giorgio Bortoli and Gennaro Of Giovannantonio.

Ex Church of Saint Marta in the College Romano

Exposure "Cromie and Plasticismi" III edition

Rome 1.12.2007 - 25.12.2007

VIII week of the culture, May 2007

Crossed life. Between servant and creativeness

Poster of the show

Crossed life. Between servant and creativeness

George Bortoli Sculptor
Giglielmo Monto on Painted

Edited by Giovanna Barbero

From the 12 magio to October 4 th 2007


The show in the boundless hourly park in the Building Corporate body Park every day 15 - 18



Installation sculpture 2007

Bronze, iron and PVC policromo

You begs to strike

... the Gong...

Crossed life. Between servant and creativeness


La Nuova
Saturday July 14 th 2007

With a brief ceremony to admiral Stefano Vignani's presence, you/he/she has been situated in the aqueous space of the Capitaneria of I Bring of Venice, the new work of the sculptor Venetian George Bortoli. And' a lion in steel with the colors of the gonfalone of the Serene one; along two meters and a half, hangs around 5 quintals.


The Messenger
Tuesday May 29 th 2007

You compliment to the sculptor Venetian George Bortoli that it exposes in Rome for the week of the culture to the theater of the Dioscuris to the Quirinale "Cromie and Plasticismi." Congratulations for the cavallierato to the artistic worth conferred him by the President Napolitano. Bortoli introduces some works among which a gigantografia containing fumettata the Mayor Cacciari, the teacher also exposes patronized Region to Vercelli Piedmont, the artist he remembers the Robbia, he writes the historical Mazzariol, using laser technique to see archiscultura for New York.
The colleagues Gabinetto Minister Rutelli and ICR Roma.

to since. and above, some photos of teacher Bortoli's exposure, near the theater of the Dioscuris to the Quirinale, Rome extract of the brochure of the week of the culture, regarding the Region Piedmont and related to the presentation of the exposures, near the Park Blades of the Sesia, of the works of the Teacher Bortoli and the painter Guglielmo Monti.

10° saloon Beni Culturali a Venezia - november 2006
The Teacher Giorgio Bortoli with the ancient one models of the labyrinth of Villa Pisani of Stra, from himself recently restored.

Gold Leo 2006 December - the Doges' Venice Hotel - awarding to Tony Renis
Tony Renis, to the right of George Bortoli in the photos, while it is receiving from the sculptor one work of his, on the occasion of the awarding of the "gold Leo."

Prize: "A life for the sport" - Villa Nani Mocenigo - 25 September 2006
Pietro's Mennea awarding (to the center) with Teacher Bortoli's sculpture (to the left) entitled "Ermes." To the right the alderman to the Culture for the Province in Venice Nicola Funari.

International festival of Light Music of Veneto "gold Gondola"

Awarding "gold Gondola", edition 2006
Natascia Stefanenko rewards the "Matia Bazar"

"The art of the whole" - Rome angelic library, 4-7-April 2006

The art of the whole...
... four artists for regions...

- George Bortili
- William Monti
- Elvezio Sfarra
- Pious you Parody

Rome - Library angelic 4-7 April 2006

The review shows their qualities, fruit of a long passion and an appointment already crowned by important successes and recognition.

VII week of the Culture, April 2-9 th 2006

Saturday April 2 nd 2006 - Stra, National Villa Pisani

Show - installation of George Bortoli

National villa Pisani, from 2 to April 9
edited by George Bortoli, William Monti, Rodolfo Marcolin, Ileana Di the Puppa, Joseph Rallo, with the collaboration of Francis Candiz, Caesar Crova, Annaluisa De Martin, Fiorenzo Vanzo, Gianni Zanlorenzi, Luciano Zanibellato and Technical Assistants Museali.

With the share of Eurocrom 4 of Giovanni Zanotto, 21/7 Edison Street, Villorba (TV)

Presentation Saturday 8 April to her times 17,30. to follow refreshment offered from Celestial Catering and Astoria Vini

Prize of Poetry "silver Letter"

Silver letter December 2005 - Beach in Venice
The actor I Row Circle
The announcer RAI Tg2 Maria Concetta Mattei
The sculptor Giorgio Bortoli
The actor Arnoldo Foà
The actor Nando Gazzolo

Silver letter December 2005 - Beach in Venice
The actor I Row Circle
The Mayor of Vetralli, Dr. Sandrino Aquiloni
The announcer RAI Tg2 Maria Concetta Mattei
The sculptor Giorgio Bortoli
The actor Arnoldo Foà
The actor Nando Gazzolo

The prize in bronze is constituted by a pedestal done to head of lion they March, where from the mouth it escapes a puff that the World sustains Cut in two parts with the writing engraved of a passage of the Heaven of Dante Alighieri and above of all detaches the silver letter.

International festival of Light Music of Veneto "gold Gondola"


Beach in Venice, 2004
The Mayor of Vetralla (Viterbo) Sandrino Aquilani
The actor Arnoldo Foà
The singer songwriter Mariella Nava (winning with the gondola)
The television conductor Simona Tagli

50 years Of History of the gold Gondola in Venice

It was the Commune in Venice with his assessorato to the Tourism in collaboration with the firm of Stay, straight line then from Natalino Scarpa, to sustain the entrepreneur of shows Milanese Gianni Ravera in to launch the international Show of the light music to Venice and therefore to assign the gold Gondola prizes and of silver to the best singers and affirmed complexes, emergent and new. It was the 1954 four years after that Festivals of Sanremo that it gives as anchor artistic nobility and economic popular success to those people who participate you. In that year, besides the Festival for antonomasia in Italy, in to proliferate of demonstrations devoted to the light music, other initiatives were successful, the Festival cafe of Vittorio Salvetti and the cantagiro of Radaelli, combined to that ciclistico of Italy. With to spend some years it was the name of the prize, in the double version of gold Gondola and silver Gondola, to prevail on that of international Show of the light music, autonomous review that went to integrate the placard of the Biennal exhibition in Venice, that today of this music doesn't occupy him yet really.
It was successful, both for the share and for the select period, that autumn toward the winter (Sanremo between winter and spring, Cantagiro among spring and summer and Festival cafe summer - autumn) with the intent to celebrate in Venice the year of the light music. They developed 9 editions, continuous from 1954 to 1963. The top of the success of the public the gold Gondola had him/it in 1959, when the kermesse, that developed him in the dock of St. Mark, moved him in the adjacent great plaza: well 4 stages with as many orchestras and 10 thousand spectators sat in the third evening, that final. Then a break and resumption in 1971. They had other 5 editions, in 71, 72, 75, 81 and 82.

In the periods of absence the demonstration moved him to the other centers, what Shore of the Garda, Champion and Saint Vincent, adjourning of time in time i1 name of the original prize (gold sail...).
In the years '80 were inserted in the actual management the association International Mario Di the Monk respectively held up by Renzo Stevanato and Armida Tessier President and deputy president of the same one that induced the Commune (in truth with least share) to reassume the initiative. It was not able however to continue with the name of gold Gondola (the mark was still appanage of the Raveras) for which shift on that of gold Leo ex gold Gondola, formally hooking the (competed of light music to the Biennal exhibition. From to the time up to 1999, alternating the center among the dock of St. Mark, the piazzetta and the Theater Goldoni, the Building of the cinema and the Theater of the Casino the Pearl is kept with the mark gold Leo on giving continuity to the show and finally from 2000 after years of appeals and confrontations, the association Mario Di the Monk, together to other collaborations among which the society Venice In The World has succeeded in bringing the mark gold Gondola in lagoon.
The year of the turn and the true support is 2003 and this, thanks to the entrance in "scene" of the Region Veneto that, with Your President Giancarlo Galan and particularly, the Assessorato to the Culture and Venetian Identity of the prof. Ermanno Serrajotto, has believed in the project.
To such end in to introduce the gold bulletin-board of some winning ones of the editions of these 50anni: Mine, Nilla Pizzi, Gino Latilla, Carla Boni, Tonina Torielli, Claudio Villa, Julia De Palm, The Quartet Cither, Jo Sentieri, Patty Pravo, Renato Zero, Caterina Caselli, Franco Simone, Pupo and so many others, are convinced that to aim to high-levels is not impossible, it takes however that, is wanted him Really.

Beach in Venice, 2004
The sculptor Giorgio Bortoli (with the yellow shirt)
The Mayor of Vetralla (Viterbo) Sandrino Aquilani
The singer songwriter Mariella Nava (winning with the gondola)
The television conductor Simona Tagli

Beach in Venice 2004
George Bortoli delivers the new prize to the singer songwriter Amedeo Minghi "You gold Gondola" in bronze avente as pedestal a brick of the old Bell tower of St. Mark collapsed in 1902

Beach in Venice, 2004
The actor Arnoldo Foà and the new one: "Gold gondola, realized by the artist sculptor Giorgio Bortoli

The New "gold Gondola" in gilded bronze, realized by George Bortoli

Beach in Venice, December 2005
The sculptor Giorgio Bortoli, author of the New "silver Gondola"
The entrepreneur vinicola "Astoria Vini" Mrs. Antonella Polegato
The television announcer Jo Squillo

Gold gondola December 2005, Beach in Venice
The singer Bobby Solo rewarded by the sculptor Giorgio Bortoli

The New "silver Gondola" in silvered bronze, realized by George Bortoli

Gold gondola December 2005, Beach in Venice
Building of the Cinema
The sculptor Giorgio Bortoli rewards Khan the new one "silver Gondola" the singer songwriter Simone Cristicchi

Sculpture in electroplated bronze in silver (lion cut in 2 sections) with pedestal drawn by a brick of the Bell tower of St. Mark collapsed in 1902



presentano al "CARIBE"
Lungomare Marconi - Lido di Venezia

Thursday 31-8-95: LIGHT FROM THE SEA
Friday 1-9-95: BLACK AND WHITE
Saturday 2-9-95: LIGHTS IN THE BEACH
Domenica 3-9-95: ATOMIC MUSHROOMS
Monday 4-9-95: ATTENTION.... PIRATES
Tuesday 5-9-95: THE LIFE
Wednesday 6-9-95: PLASTIC
Thursday 7-9-95: GHOSTS OF OUR MIND

Artistic direction: PIERO e GIORGIO BORTOLI - Studio Development Sculpture Application Amplificazioni e Luci: GABRIELE TAMBURELLO
Musical direction: MAURIZIO BACCI