 |
1.prova di ballo, 1997 terracotta 22.cm. Euro 3000
2.Maria, 2002 terracotta smaltata 17 cm. Euro 2000
3.ballerina seduta, 2000 bronzo 16 cm. Euro 5000
4.Tormento, 2001 terracotta patinata, Euro 2000
5.all'ombra dell'ulivo, 2002 olio su tela 50x70cm. Euro 4000
6.estate, 2002 olio su tela 60x60 cm. Euro 2500
7.Il pranzo, 1996 olio su tela 50x60 cm.Euro 4000
8.Mondo arcaico,
1999 olio su tela
50x60 cm.Euro 4000
|
| |
|
Maria Rosa Muzzi
was born in Faenza, a city famous for its ceramic art, where she lived until
1970. Having majored in the plastic arts in High School, She attended the
Academy of Fine Arts in Bologna and the Institute of Ceramic Art in Faenza.
She moved to Rome in 1971 where she has taught Artistic Education. For many
years she devoted herself entirely to painting, but more recently, returned
to her first love, clay e bronze. She lives and works in Rome, at 41, via
Sesto Fiorentino - Maria Rosa Muzzi, with its works of painting and
sculpture expresses a fundamental concept in which technique, style, image
they melt themselves with the deeper feelings of the spirit in order to
express itself in an artistic shape that we can define SYMBOREALISM. Her
voluptuous and sensual nymphs, but sometimes so ethereal, its lovingly rough
women calabrians, so, descents where the bitter truth assumes the spell of
the dream, its plastic and approaching classicism terracotta heads, so,
always picked in a introspective attitude, its dancers that they reflect and
they make to reflect and that they would not want to never stop to dance,
decide to listen of the spirit. In the paintings that represent the Calabria
and the Mediterranean woman in general terms, to part the high pictorial
qualities of the work, one is at once struck by the way in which Muzzi
renders that sad and resigned side of human nature that becomes more evident
with old age, as the body curves towards the ground and the mind floats
above old memories. The figures, pure voluminous shapes, are inserted into a
natural environment full of warm colours, typical of Calabria. The way the
artist blends the rounded forms of the women, with perfect chromatic
harmony, into the static and idyllic atmosphere, is worth of note. The
overall image is held together by thematic identities, by places and modes
that are continually repeated in her works, by objects and characters that
remain from one idea to the next as a play of evocative echoes that conserve
intact the flavour of the times, the essence of destiny and the light of
hope. (Donato Prof. Di Sepio)
The series
dedicated to the Nymphs, the ballet series (classical dancers in various
positions), and especially the series of women's busts and heads in which
the figures are characterized by a rhythmic fluidity around the silhouettes,
offer an infinite range of perceptive possibilities in their structural
composition and therefore belong to the highest forms of artistic
expression. Maria Rosa Muzzi renders that sad and resigned side of human
nature that becomes more evident with old age, as the body curves towards
the ground and the mind floats above old memories. Muzzi represents the
humble one, the farmers, personalities that do not make exemplary actions,
historical, decisive. They live their daily life without realizing to be
represented and to become immortal in the painting. They do not put
themselves in laying. They are represented in their natural human condition.
What is important is not what they do but how the artist shows us the vision
of this subject. Are they simple people? We almost understand it more from
the pictorial technique than from other references. With a wide painting,
constituted by juxtaposition of wide clear chromatic areas, Muzzi uses a
simple language to depict simple ones. In my opinion exist some links with
Gauguin, with the sturdiness of his compositions, few figures, and wide
masses. But also relations with Ottone Rosai, also if interpreted in a less
metaphysic way, of which most of all, we see his technical lesson. Van Gogh
and the Fauves are more references that constitute the basis of the art of
Maria Rosa Muzzi. She uses three only colours: we won’t believe it, so
strong is the vitality of her images. She is not only painter: un important
area of her artistic work is constituted by the sculpture, in which we can
see her studies of plastic but also many relations with Degas. She is not
only painter: un important area of her artistic work is constituted by the
sculpture, in which we can see her studies of plastic but also many
relations with Degas. Also here are moments of daily life of the protagonist
of her paintings, attitudes that remember the great master’s paintings, seen
during a few pictorial research journeys accomplished in France. Really
remarkable dancers engaged in their art, represented with freshness,
naturalness. In the sculptural production we still note that clear and
settled structure, sober, “realistic”, a direct representation of reality
with essential language remains and answering to likelihood canons. This is
never denied, less in the sculpture as regards the painting. The stylistic
models which are followed are Ingres, really for his clearness of plant and
the smooth surfaces. From the style original, the descriptive ability to the
artist Maria Rosa Muzzi seems not to know reservoirs. The versatility of
employment of its virtuous talent is found in paintings and sculptures of
valuable invoice. Chrome intense and contrasting recalls the exotic
narrations of Gauguin therefore as the plastic yields of its creations
figure essential things in the fruition. One valid talent therefore, one
consisting search will. Thematic interesting, they recall scenes of bucolic
life, emblem of the last time and at the same time of the continuous
requirement to testify, to leave indelible signs. The sculptures of ours
leave to be transparent much loving engagement and devotion for the
anatomical valorisation of the masses.
