Elegant and cosmopolitan, Titina Maselli (Rome, 1924-2005) is among the most original Italian painters of the twentieth century. His art counterflow. He refuses choices of convenience, will not follow the fashion of the moment and the dictates of the market: does not have a first address. Expresses a personality out of the ordinary, so that the 'character Titina' obscures its refined production, it remained unknown for a long time to the general public and almost ignored by critics. Free spirit, Titina is an artist that is not categorized. To those who asked her what it was art, he replied: "The only justification."
She Querini Stampalia Foundation dedicates the anthology: Titina Maselli, curated by Chiara Bertola, with the support of the Galleria Massimo Minini of Brescia. The exhibition reconstructs the poetic through some thirty works, that cover topics and ways of his personal language. So Titina: "A painting is not a book, a picture appears in a while, you see in a moment ... I would like that my paintings were clear as those scenes that Chaplin repeated dozens of times, to ensure that you understand ... I always try to make things as clearly and hyperbolic ... .of can grasp reality, as much reality in one. In a single moment. " The city of Titina, with cars, trams, trucks, electrical cables, neon, the bar and the stadium, as his players and boxers, transfigured and denatured by and by physical effort of athletic movement, are immersed in the time of consciousness and not the perception. The facades of buildings and skyscrapers seem skeletons, eaten the halo of lights, the signs, the street lamps. Architectures built to absorb and radiate again the flow of energy flowing around them. Vertical evanescent, but also powerful presences and real, that the eyes perceive, crossing them: fragments reflections .. The iconographic elements overlap and fit together, contradict each other, interfere and enhance each other. This is what the artist wants: get us into the city, making us live that tension and walking along that space. So Titina: "Modernity is breathtaking. It is life, but also what can not be experienced. Everything is energy and everything is consciousness. All is matter and everything is spirit .... " Titina, unconventional in the choice of subjects and in that the material often used for black pitch in the socket body, builds a language that tells the dynamism, the emotion of modernity and at the same time all the loneliness and alienation inherent in it, and it does so through a "sign of a busy life." A sign-color that has never expressive but performative in attaching energy directions within the framework. A sign that moves driven by a magnetic field, in which masses of traits thicken and thin letting leak a silhouette more substantiated by the wind and by the light, that from the material itself.
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