The area of Monte San Savino, just fitted with stone, is rich in clay of excellent quality, and this explains why since the earliest times, the local population is largely dedicated to working ceramics. Consider, for example, for excellence of Etruscan pottery, in the refinement of the "coral vases relief" in "sealed clay", of Roman (which today embellish the Archaeological Museum of Arezzo), and the poor cookware to the Medieval, types increasingly lively and "cultured" of the Renaissance, rich of plastic imagination, colors and "istorie", the aristocratic polychrome of the seventeenth and eighteenth centuries, the periods that we could call "rustic silence" still marked from domestic production, blunt testimony of popular use, and romantic styles of the late nineteenth and early twentieth, sensitive grounds in delicate pure blue or turquoise or pink or sepia of white, and the chaste nearly transparent "savines white" which is still the background to the polychrome relief of devotional "Our-Lady" in sacred smallchapel (here still called "Majesty") and holy water, whose models have survived intact over the centuries.

All a very long period of history that at the end of the fifteenth century illuminates the masterpieces of the greatest son of Monte San Savino, the sculptor-architect-ceramics Andrea Contucci said "The Sansovino", and that in later centuries is a wonderful thread of consistency never stopped in those dynasties of Savines potters (the Aretini, the Cungi, the Anselmi, whose furnaces are switched off only in the first quarter of the twentieth century).

From these deep cultural roots, the young Giotto Giannoni brought the technical and artistic knowledge of ceramic, and inspiration for an innovative research staff. During his memorable life gave life to countless and fantastic ceramic styles that in the course of the activities has evolved and changed.


This decoration was created in the early years of the company, then in the mid-'20s. One of the characteristics of this type, as well as the gracefulness of the design and the delicacy of the colors, is the continuing diversity of flower arrangements, freely performed in the tip of the brush piece by piece.


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Graffito’s technique, widely used in Ceramiche Giotto since its foundation, consists of engraving with a metal pointed instrument into the clay unfired and already engobed. In this way the contours and decorations of the figures are revealed in a deeper and more clearcut manner. Later, after the first cooking, the objects were decorated with polychrome colors.


The open-worked technique, widely practiced by the potters of Monte San Savino since ancient times, consists in applying decorative geometric and phytomorfic “strings” of clay onto the still unfired, hand-worked object, and in the successive removal of the internal parts by means using a very thin blade.


The technique dates back to the birth of the company, style developed by the founder Giotto Giannoni and subsequently taken over by staff and amended by his son Araldo. Is a classic style of Ceramiche Giotto and is the view of typical Tuscan landscape, with its little house, the barns, the cypress trees, the streets, all collected in an evanescent clear sky which is the background.


The style dates back to the 20s, designed by the founder Giotto Giannoni. Is the representation of a seabed inhabited by fantastic fish, seahorses, jellyfish and lush vegetation, all freely run at the tip of the brush piece by piece, making each item unique.


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The style dates back to the 20s, designed by the founder Giotto Giannoni. In most parts of the pieces, the Little Bird is always painted in thick vegetation with beautiful bright red flowers and deep blue, typically a "Floral Persian", almost always run with the technique of "Graffito". Other times were also executed in one color, in sepia or blue, which could still make each object a masterpiece. From the 80s Giotto’s Bird is integrated with a more modern representation, which best fits in more modern environments.


Probably the first and preferred by Giotto, who also devotes his name - Former Giotto - of great simplicity of color but considerable technical depth, this style shows the great pictorial capacity of founder, who succeeded with only one color to make each piece a masterpiece.


The technique dates back to the early 60s, when the company was inherited by Araldo. The style consists of a succession of seemingly identical floral branches, which are repeated in a circular motion over the entire surface of the object. Characteristic of this style is the continuing diversity of flower arrangements, which make each object unique.

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Since the early years of activity are among the classic decor of Bottega Giotto, rare pieces in "Modern Style" as the "onion Liberty Vase" or the "ball Vase in yellow enamel", but to be considered prototypes or better yet the eccentric creations of the period. We will have to wait until 1961 to declare that a new style was in the Giotto’s house, the "Modern Style", that is the year in which Anna Varignani, wife of Araldo, went to work at the Ceramiche Giotto, bringing a shower of new, the introduction of enamel work, the creation of new ideas, original, including a constant search for new technical solutions. Later this style was able to change and follow hand in hand the development evolution of furnishings, more and more minimalist, wich require furniture complements less rich decor, while maintaining the classic taste that has marked the production of Ceramiche Giotto for nearly ninety years.