{"id":11706,"date":"2025-08-08T13:44:02","date_gmt":"2025-08-08T11:44:02","guid":{"rendered":"https:\/\/www.archieinteriors.com\/the-mirror-in-design-from-man-ray-to-ettore-sottsass-two-icons-between-art-and-reflection\/"},"modified":"2025-08-08T13:44:02","modified_gmt":"2025-08-08T11:44:02","slug":"the-mirror-in-design-from-man-ray-to-ettore-sottsass-two-icons-between-art-and-reflection","status":"publish","type":"post","link":"https:\/\/www.archieinteriors.com\/en\/the-mirror-in-design-from-man-ray-to-ettore-sottsass-two-icons-between-art-and-reflection\/","title":{"rendered":"The mirror in design: from Man Ray to Ettore Sottsass, two icons between art and reflection"},"content":{"rendered":"<p data-start=\"494\" data-end=\"856\"> During the twentieth century, the <strong data-start=\"522\" data-end=\"534\"> mirror <\/strong> ceased to be a simple functional object to transform itself into a <strong data-start=\"607\" data-end=\"633\"> conceptual surface <\/strong>, capable of reflecting not only images but also thoughts, emotions and perceptions. <br data-start=\"715\" data-end=\"718\" \/> From a practical furnishing element, it becomes <strong data-start=\"759\" data-end=\"782\"> an artistic instrument <\/strong>, a canvas for painters, a poetic support and a means of philosophical exploration. <\/p>\n<p data-start=\"858\" data-end=\"1026\"> Two works in particular \u0096 <strong data-start=\"885\" data-end=\"913\"> Les Grands Trans-Parents <\/strong> by <strong data-start=\"917\" data-end=\"928\"> Man Ray <\/strong> and <strong data-start=\"931\" data-end=\"947\"> Ultrafragola <\/strong> by <strong data-start=\"951\" data-end=\"973\"> Ettore Sottsass Jr <\/strong> \u0096 embody two opposite but complementary approaches: <\/p>\n<ul data-start=\"1027\" data-end=\"1114\">\n<li data-start=\"1027\" data-end=\"1073\">\n<p data-start=\"1029\" data-end=\"1073\"> one <strong data-start=\"1033\" data-end=\"1070\"> minimal, enigmatic and philosophical <\/strong> ; <\/p>\n<\/li>\n<li data-start=\"1074\" data-end=\"1114\">\n<p data-start=\"1076\" data-end=\"1114\"> the other <strong data-start=\"1084\" data-end=\"1111\"> pop, bright and ironic <\/strong> . <\/p>\n<\/li>\n<\/ul>\n<p data-start=\"1116\" data-end=\"1255\"> In both cases, the mirror goes beyond its reflective function, transforming itself into a threshold towards new dimensions of meaning. <\/p>\n<h2 data-start=\"1262\" data-end=\"1308\"> Les Grands Trans-Parents \u0096 Man Ray (1938) <\/h2>\n<p> <img fetchpriority=\"high\" decoding=\"async\" class=\"alignnone size-full wp-image-5689\" src=\"https:\/\/www.archieinteriors.com\/wp-content\/uploads\/2025\/08\/Les-Grands-Trans-Parents-\u0096-Man-Ray-1938.jpg\" alt=\"Les Grands Trans-Parents \u0096 Man Ray (1938)\" width=\"1200\" height=\"800\" \/> <\/p>\n<p data-start=\"1309\" data-end=\"1385\"> <strong data-start=\"1309\" data-end=\"1383\"> Mirror of the invisible, surrealist symbol and philosophical reflection <\/strong> <\/p>\n<p data-start=\"1387\" data-end=\"1551\"> In 1938, <strong data-start=\"1397\" data-end=\"1408\"> Man Ray <\/strong> , a key artist of <strong data-start=\"1429\" data-end=\"1441\"> Dadaism <\/strong> and <strong data-start=\"1448\" data-end=\"1463\"> Surrealism <\/strong> , conceived <strong data-start=\"1476\" data-end=\"1504\"> Les Grands Trans-Parents <\/strong> , later re-edited by Simon by Cassina in 1971. <\/p>\n<p data-start=\"1553\" data-end=\"1837\"> This <strong data-start=\"1560\" data-end=\"1603\"> elliptical mirror in silk-screened glass <\/strong>, devoid of decorations and supported by a sculptural base, is dominated by the title that runs across the entire surface. The French expression \u0093Les Grands Trans-Parents\u0094 can mean both \u0093the great parents\u0094 and \u0093the great transparent ones\u0094. <\/p>\n<p data-start=\"1839\" data-end=\"2047\"> This linguistic ambiguity is the heart of the project: for <strong data-start=\"1897\" data-end=\"1908\"> Man Ray <\/strong> , transparency is <strong data-start=\"1927\" data-end=\"1955\"> a metaphor for the invisible <\/strong> , of what often escapes superficial perception but contains profound meanings. <\/p>\n<p data-start=\"2049\" data-end=\"2258\"> The mirror does not restore a face, but <strong data-start=\"2090\" data-end=\"2118\"> invites introspection <\/strong> . It is a work-manifesto of surrealism, which subverts the traditional idea of ??the mirrored image and stimulates a destabilizing reflection. <\/p>\n<h2 data-start=\"2265\" data-end=\"2310\"> Ultrafragola \u0096 Ettore Sottsass Jr (1970) <\/h2>\n<p> <img decoding=\"async\" class=\"alignnone size-full wp-image-5680\" src=\"https:\/\/www.archieinteriors.com\/wp-content\/uploads\/2025\/08\/Specchi-iconici-di-design-i-modelli-piu-belli-da-conoscere-e-da-desiderare.jpg\" alt=\"Specchi iconici di design i modelli pi\u00f9 belli da conoscere (e da desiderare)\" width=\"1200\" height=\"800\" srcset=\"https:\/\/www.archieinteriors.com\/wp-content\/uploads\/2025\/08\/Specchi-iconici-di-design-i-modelli-piu-belli-da-conoscere-e-da-desiderare.jpg 1200w, https:\/\/www.archieinteriors.com\/wp-content\/uploads\/2025\/08\/Specchi-iconici-di-design-i-modelli-piu-belli-da-conoscere-e-da-desiderare-300x200.jpg 300w, https:\/\/www.archieinteriors.com\/wp-content\/uploads\/2025\/08\/Specchi-iconici-di-design-i-modelli-piu-belli-da-conoscere-e-da-desiderare-1024x683.jpg 1024w, https:\/\/www.archieinteriors.com\/wp-content\/uploads\/2025\/08\/Specchi-iconici-di-design-i-modelli-piu-belli-da-conoscere-e-da-desiderare-768x512.jpg 768w, https:\/\/www.archieinteriors.com\/wp-content\/uploads\/2025\/08\/Specchi-iconici-di-design-i-modelli-piu-belli-da-conoscere-e-da-desiderare-370x247.jpg 370w\" sizes=\"(max-width: 1200px) 100vw, 1200px\" \/> <\/p>\n<p data-start=\"2311\" data-end=\"2369\"> <strong data-start=\"2311\" data-end=\"2367\"> Icon of Radical Design, between pink light and pop irony <\/strong> <\/p>\n<p data-start=\"2371\" data-end=\"2530\"> More than thirty years later, in 1970, <strong data-start=\"2405\" data-end=\"2427\"> Ettore Sottsass Jr <\/strong> designed for <strong data-start=\"2441\" data-end=\"2455\"> Poltronova <\/strong> one of the most famous mirrors in the history of design: <strong data-start=\"2511\" data-end=\"2527\"> Ultrafragola <\/strong> . <\/p>\n<p data-start=\"2532\" data-end=\"2848\"> Part of the experimental series <em data-start=\"2563\" data-end=\"2577\"> Mobili Grigi <\/em>, this work challenges the traditional canons of furniture. The wavy frame, made of <strong data-start=\"2666\" data-end=\"2687\"> thermoformed PETG <\/strong> , envelops the mirroring surface and lights up thanks to a system of <strong data-start=\"2760\" data-end=\"2773\"> pink neon <\/strong> (now also LED), transforming the mirror into a <strong data-start=\"2824\" data-end=\"2845\"> luminous sculpture <\/strong> . <\/p>\n<p data-start=\"2850\" data-end=\"3200\"> When turned off, it appears like a furnishing element with a strong visual impact; when turned on, it becomes a sensual and scenographic object, capable of modifying the atmosphere of the environment. <br data-start=\"3022\" data-end=\"3025\" \/> The reference to the world of <strong data-start=\"3052\" data-end=\"3075\"> Alice in Wonderland <\/strong> and to fairy-tale imagery underlines its visionary character: as in Wonderland, &#8220;nothing is as it seems&#8221;. <\/p>\n<h2 data-start=\"3207\" data-end=\"3263\"> Two complementary visions of the mirror in design <\/h2>\n<p data-start=\"3265\" data-end=\"3507\"> Despite the differences in style and context \u0096 the <strong data-start=\"3314\" data-end=\"3338\"> Parisian avant-garde <\/strong> for Man Ray and <strong data-start=\"3355\" data-end=\"3385\"> Italyof radical design <\/strong> for Sottsass \u0096 both mirrors share the desire to <strong data-start=\"3448\" data-end=\"3504\"> transform a passive object into an active subject <\/strong> . <\/p>\n<div class=\"_tableContainer_1rjym_1\">\n<div class=\"_tableWrapper_1rjym_13 group flex w-fit flex-col-reverse\" tabindex=\"-1\">\n<table class=\"w-fit min-w-(--thread-content-width)\" data-start=\"3509\" data-end=\"4061\">\n<thead data-start=\"3509\" data-end=\"3584\">\n<tr data-start=\"3509\" data-end=\"3584\">\n<th data-start=\"3509\" data-end=\"3517\" data-col-size=\"sm\"> Work <\/th>\n<th data-start=\"3517\" data-end=\"3524\" data-col-size=\"sm\"> Year <\/th>\n<th data-start=\"3524\" data-end=\"3536\" data-col-size=\"sm\"> Materials <\/th>\n<th data-start=\"3536\" data-end=\"3547\" data-col-size=\"sm\"> Function <\/th>\n<th data-start=\"3547\" data-end=\"3558\" data-col-size=\"sm\"> Aesthetics <\/th>\n<th data-start=\"3558\" data-end=\"3571\" data-col-size=\"sm\"> Symbolism <\/th>\n<th data-start=\"3571\" data-end=\"3584\" data-col-size=\"sm\"> Message <\/th>\n<\/tr>\n<\/thead>\n<tbody data-start=\"3661\" data-end=\"4061\">\n<tr data-start=\"3661\" data-end=\"3871\">\n<td data-start=\"3661\" data-end=\"3698\" data-col-size=\"sm\"> Les Grands Trans-Parents \u0096 Man Ray <\/td>\n<td data-col-size=\"sm\" data-start=\"3698\" data-end=\"3718\"> 1938 (reissued 1971) <\/td>\n<td data-col-size=\"sm\" data-start=\"3718\" data-end=\"3761\"> Elliptical glass, silk-screen printing, polyurethane <\/td>\n<td data-col-size=\"sm\" data-start=\"3761\" data-end=\"3783\"> Conceptual object <\/td>\n<td data-col-size=\"sm\" data-start=\"3783\" data-end=\"3804\"> Minimal, enigmatic <\/td>\n<td data-col-size=\"sm\" data-start=\"3804\" data-end=\"3830\"> Surrealist, philosophical <\/td>\n<td data-col-size=\"sm\" data-start=\"3830\" data-end=\"3871\"> Reality hides in the invisible <\/td>\n<\/tr>\n<tr data-start=\"3872\" data-end=\"4061\">\n<td data-start=\"3872\" data-end=\"3908\" data-col-size=\"sm\"> Ultrafragola \u0096 Ettore Sottsass Jr <\/td>\n<td data-col-size=\"sm\" data-start=\"3908\" data-end=\"3915\"> 1970 <\/td>\n<td data-col-size=\"sm\" data-start=\"3915\" data-end=\"3945\"> Thermoformed PETG, neon\/LED <\/td>\n<td data-col-size=\"sm\" data-start=\"3945\" data-end=\"3974\"> Mirror + ambient light <\/td>\n<td data-col-size=\"sm\" data-start=\"3974\" data-end=\"4003\"> Pop, sinuous, provocative <\/td>\n<td data-col-size=\"sm\" data-start=\"4003\" data-end=\"4023\"> Fairytale, ironic <\/td>\n<td data-col-size=\"sm\" data-start=\"4023\" data-end=\"4061\"> Contrast between appearance and essence <\/td>\n<\/tr>\n<\/tbody>\n<\/table>\n<div class=\"sticky end-(--thread-content-margin) h-0 self-end select-none\">\n<div class=\"absolute end-0 flex items-end\"> <\/div>\n<\/p><\/div>\n<\/p><\/div>\n<\/p><\/div>\n<h2 data-start=\"4068\" data-end=\"4110\"> The mirror between visible and invisible <\/h2>\n<p data-start=\"4112\" data-end=\"4241\"> Both <strong data-start=\"4116\" data-end=\"4144\"> Les Grands Trans-Parents <\/strong> and <strong data-start=\"4149\" data-end=\"4165\"> Ultrafragola <\/strong> operate on the border between <strong data-start=\"4190\" data-end=\"4207\"> art and design <\/strong>, between <strong data-start=\"4213\" data-end=\"4238\"> visible and invisible <\/strong>: <\/p>\n<ul data-start=\"4242\" data-end=\"4357\">\n<li data-start=\"4242\" data-end=\"4305\">\n<p data-start=\"4244\" data-end=\"4305\"> the first invites an intimate and conceptual <strong data-start=\"4278\" data-end=\"4302\"> exploration <\/strong> , <\/p>\n<\/li>\n<li data-start=\"4306\" data-end=\"4357\">\n<p data-start=\"4308\" data-end=\"4357\"> the second seduces with <strong data-start=\"4330\" data-end=\"4354\"> color, shape and light <\/strong> . <\/p>\n<\/li>\n<\/ul>\n<p data-start=\"4359\" data-end=\"4589\"> Both demonstrate that the mirror, in twentieth-century design, is no longer a simple tool for reflecting an image <\/p>\n","protected":false},"excerpt":{"rendered":"<p>During the twentieth century, the mirror ceased to be a simple functional object to transform itself into a conceptual surface , capable of reflecting not only images but also thoughts, emotions and perceptions. From a practical furnishing element, it becomes an artistic instrument , a canvas for painters, a poetic support and a means of &hellip;<\/p>\n","protected":false},"author":5,"featured_media":12981,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[338],"tags":[],"class_list":["post-11706","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-complementi-darredo","has-thumb","has-featured"],"yoast_head":"<!-- This site is optimized with the Yoast SEO plugin v25.7 - https:\/\/yoast.com\/wordpress\/plugins\/seo\/ -->\n<title>The mirror in design: from Man Ray to Ettore Sottsass, two icons between art and reflection - Archi &amp; Interiors<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/www.archieinteriors.com\/en\/the-mirror-in-design-from-man-ray-to-ettore-sottsass-two-icons-between-art-and-reflection\/\" \/>\n<meta property=\"og:locale\" content=\"en_US\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"The mirror in design: from Man Ray to Ettore Sottsass, two icons between art and reflection - Archi &amp; Interiors\" \/>\n<meta property=\"og:description\" content=\"During the twentieth century, the mirror ceased to be a simple functional object to transform itself into a conceptual surface , capable of reflecting not only images but also thoughts, emotions and perceptions. 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