After King Chulalongkorn’s first visit in 1897 until the first decade of 20th century, Turinese professionals in Bangkok continuously played a role of great importance in the sectors of architecture, civil engineering and architectural painting. In the decade that followed, however, a new group of professionals, in particular, artists from Florence entered the service of various projects under the Public Works of Siam.
When Turin International Expo was held in 1911 to celebrate the 50th anniversary of the Establishment of Italian Kingdom, another magnificent exhibition was held in Rome – the Rome International Expo. Galileo Chini, an artist from Florence, took part in Rome exhibition where he painted the decoration of the Tuscan Pavilion. Following this accomplishment and in response to the royal commission of King Chulalongkorn, Chini headed for Siam to design and supervise the creation of decorative artwork in the interior of Ananta Samakhom Throne Hall. From then on, it could well be considered the beginning of a new era of Italian artists in Siam, as well as the prelude of the artist journey of Florentine artists who were to join hands with Turinese architects and engineers.
In his memoirs, Chini mentioned a group of Florentine artists who traveled to Siam for the construction project of Ananta Samakhom Hall. The artist said that after the agreement signed with the Siamese government, he chose two of his pupils to be assistant painters: Carlo Rigoli and Giovanni Sguanci, who traveled ahead of him to prepare various matters in Bangkok. Furthermore, there was also a gold guilder, Giovanni Barsi, and a plaster sculptor, Giuseppe Innocenti.
Both Carlo Rigoli and Giovanni Sguanci were successful in demonstrating their artistic expertise alongside their master, Galileo Chini, in the making of ceiling frescoes at the Ananta Samakhom Throne Hall. Furthermore, Carlo Rigoli had the chance, on many occasions, to create artwork with Prince Naris (H.R.H. Prince Narisara Nuvadtivongs), one of them being the frescoes project designed by the Prince and painted by Rigoli. This series of artwork depicted stories based on oriental traditions, but were created by using occidental techniques; for example, the ceiling decoration of Barom Piman Palace in the Grand Place or the mural paintings at Wat Rajadhivas, a Buddhist monastery. It is without a doubt that Carlo Rigoli played a considerable role in the Siamese painting arena under the reign of King Rama VI. It is also believed that Haim Wetchakorn, a renowned Thai painter, was taught and guided by none other than Rigoli.
The entry of Florentine artists in Siam, starting from their work on the interior decorations of Ananta Samakhom Throne Hall to the end of King Vajiravudh’s reign, continued to flourish as the movement of contemporary art gradually formed in Siam, also owing to the active devotion of Corrado Feroci, the Florentine sculptor, better known in Thailand as Professor Silpa Pirasri, who later assisted to the establishment of an Academy of Fine Arts in Bangkok.
Lohapon, Neungreudee. The Siamese Pavilion at Turin Expo 1911. Bangkok: Amarin Printing & Publishing, 2012.
