Liceo Artistico Pietro Selvatico

School  /  Making   Critical Thinking   Research   Technics
Published: 10.12.2015
Liceo Artistico Pietro Selvatico.
Largo Egidio Meneghetti 1
35131 -  Padua
+39 049 87 51 084
Valter Rosato

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A piece of jewellery, as any other work made by man, cannot derive from a mere act of execution and cannot be passively made on the basis of preconceived ideas, as is often the case. This would inevitably give rise to an object that is anonymous and insignificant and would be anything but constructive. It is unacceptable that the maker, as a thinking creator, may adapt to such passiveness. This would go against the nature of being creative, presumably a distinguishing mark of his personality. Even when repeating a work that has already been made, the maker should consider the evolution of the piece and be able to think beyond the present. This is an operational criterion that greatly affects the results of the work and distinguishes it as a unique and personal piece as opposed to the industrial and serial object that, even when fruit of a design process, lacks the character that a manual artifact may have.
/ Prof. Mario Pinton


The Art School Pietro Selvatico is one of the seventeen excellence selected on the basis of the following criteria: leading position, part in history, attachment to the territory, recognition, high level of instruction and ability to combine tradition with innovation, for the volume “La regola del talento. Mestieri d’arte e Scuole italiane di eccellenza” – The Rule of Talent. Artstic Craft Professions and Italian Schools of Excellence (Marsilio Editori, March 2014)  Collaboration between the Fondazione Cologni dei Mestieri d’Arte (Milano) and the Fondazione Deutsche Bank Italia. The production of the volume is the result of both of the promoting Foundations’ vocation to creating a tool that can celebrate and valorise products that are Made in Italy and the master craftsmen who are involved in their creation.
History of School: In 1867 the nobleman Pietro Selvatico, eminent architect, historian and art critic, founded the Scuola di disegno pratico di modellazione e d’intaglio pegli artigiani”. The school was founded as a result of the need to “bridge the gap between theoretical knowledge and practical training in craft.” Hosted in the former slaughterhouse of Giuseppe Jappelli (1818-1919), in 1910 it became the Royal Pietro Selvatico School for decorative and industrial Arts. In 1959, the Royal School of Art became an Art Institute and specializations were introduced. During the ‘60s, the Weaving section and Art of Metal and Goldsmith sections were established and became internationally recognized as a source of talents under the direction of Prof. Mario Pinton, now in its second generation. The school’s philosophy is based on the educational and artistic indications passed down by Mario Pinton, great goldsmith artist, teacher and head at the Pietro Selvatico Art Institute for many years.
Many teachers followed over the years: Francesco Pavan, Lidia Minelli, Giampaolo Babetto, Diego Piazza, Annamaria Zanella, Renzo Pasquale, Giuliano Reveane, Alberta Vita, Stefano Marchetti, and others still teach at the school Alberto Zorzi, Graziano Visintin, Maria Rosa Franzin. Thanks to the tradition of art and experimentation initiated within the Metals Department of the Pietro Selvatico Institute, Padua became a reference point for contemporary research jewellery at that time, a place of exchange of ideas, styles and expressive choices. Starting from 1966, the goldsmith section at the Pietro Selvatico Art Institute took two directions: metalsmithing and goldsmithing which interacted with each other in an educational path lasting 5 years. With the school reform of 2010 and the transformation of the course in Jewellery Design, the curriculum changes radically, so that the first and second years give the possibility to have an overview in workshop practice, with specialization in the last three years, in order to enable the student to make a complete and informed choice. Prof. Mario Pinton, as a teacher in Professional Design, repeated that artistic results could only be achieved through close contact between theory and practice. His thinking is still the foundation of teaching at the School and where design and workshop techniques come together. The School still retains many of its traditions and excellences and is at the forefront in the artistic area thanks to multimedia and technologies, provided by new equipment available to students. After the leading guidance of eminent personalities such as Primo Bidischini, Mario Pinton and Giulio Bresciani Alvarez, in recent years the Pietro Selvatico Institute continues to be a stimulating and positive environment due to the ability of the management and the teaching staff, who have tried to respond to the different needs of users in various ways, including the establishment of afternoon and evening courses for adults. A path that persists in the objective of stimulating and re-opening the debate on the “dream” of Mario Pinton for the establishment of a “School for the Goldsmithing Arts”,allowing Italian and international goldsmith graduates to continue to deepen their studies in the art of golsmithery.
November 2015 Agreement for exchange Project with Beijing Institute Fashion Technology in China


General studies the specializations at the Institute:
Since 2010, the year of change due to the school reform, the specializations at the Institute, a Secondary School, after its transformation into Art School are:

Architecture and the Environment 
Fine Arts Painting   
Fine Arts Sculpture  
Fashion Design  
Jewelry Design  


Principal: Valter Rosato -
Vice principal : Lucia Mos, Massimiliano Celin -
Project manager: Maria Rosa Franzin,
Price of Courses & Application Forms contact:

Events      View / hide events

Exhibition  26 May 2016 - 14 Aug 2016  Memoria Aperta by Barbara Paganin.
Exhibition  08 May 2016 - 22 May 2016  Gioielli In ...Fermento 2016.
Alessandro Prendin. Brooch: Untitled, 2008. Silver, enamel. Photo by: Maria Rosa Franzin. Alessandro Prendin
Brooch: Untitled, 2008
Silver, enamel
Photo by: Maria Rosa Franzin
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Chiara Giolo. Bracelet: Untitled, 1998. Silver, enamel. 10 x 10 cm. Photo by: Maria Rosa Franzin. Chiara Giolo
Bracelet: Untitled, 1998
Silver, enamel
10 x 10 cm
Photo by: Maria Rosa Franzin
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Daniele Capuzzo. Necklace: Untitled, 1999. Silver, copper, enamel, patina. Photo by: Maria Rosa Franzin. Daniele Capuzzo
Necklace: Untitled, 1999
Silver, copper, enamel, patina
Photo by: Maria Rosa Franzin
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Davide Rampazzo. Elena Allegro. Object: Untitled, 1989. Object side cm 2; Brooch cm 4 x 4. Object: gold, silver; Brooch: Silver, copper, brass. Photo by: Maria Rosa Franzin. Davide Rampazzo
Elena Allegro
Object: Untitled, 1989
Object side cm 2; Brooch cm 4 x 4
Object: gold, silver; Brooch: Silver, copper, brass
Photo by: Maria Rosa Franzin
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Matteo Trovò. Brooch: Untitled, 2014. Silver. 5 x 5 cm. Photo by: Matteo Trovò. Matteo Trovò
Brooch: Untitled, 2014
5 x 5 cm
Photo by: Matteo Trovò
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Cristian Donà. Bracelet: Untitled, 2000. gold, silver. 10 x 10 cm. Photo by: Maria Rosa Franzin. Cristian Donà
Bracelet: Untitled, 2000
gold, silver
10 x 10 cm
Photo by: Maria Rosa Franzin
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Laura Dante. Ring: Untitled, 2010. Silver, niello. Photo by: Maria Rosa Franzin. Laura Dante
Ring: Untitled, 2010
Silver, niello
Photo by: Maria Rosa Franzin
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Daniele Butturini. Brooch: Untitled, 2014. Silver, copper, miniatura enamel. Photo by: Maria Rosa Franzin. Daniele Butturini
Brooch: Untitled, 2014
Silver, copper, miniatura enamel
Photo by: Maria Rosa Franzin
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Daniele Butturini. Vessel: Untitled, 2014. Copper, enamel. Photo by: Maria Rosa Franzin. Daniele Butturini
Vessel: Untitled, 2014
Copper, enamel
Photo by: Maria Rosa Franzin
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La Rotonda drawing class.
La Rotonda drawing class

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Giuseppe Jappelli. Drawing: Untitled, 1824. Drawing ink, watercolor. Photo by: Mario Iral. Original Drawing. Giuseppe Jappelli
Drawing: Untitled, 1824
Drawing ink, watercolor
Photo by: Mario Iral
Original Drawing
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