Necessità intimistiche

MASSARELLI:
THE LABYRINTH AND THE REDEEMING MEMORY (Renato Civello)

Marco massarelli Necessità intimisticheI would not dwell too long on the content of Marco Massarelli's works if I were not sure already of his great quality as an artist. Nowadays the combination of ambitious representations founded on the most incredible morphological baselessness is too often mistaken for an aesthetic work: now the socalled "creative visuality" is, unfortunately, brimful of intentions, intellectual theorems and false equations. It is worthy not to forget - to prove that excesses are not useful to great masters either - that many representatives and heirs of the Dresden Brücke have been mortified by their teleological hypertrophy, and that even a great neo-impressionist like Pelizza da Volpedo was damaged by the exacerbation of social issues. Let alone relying on a conceptual raising on the bases of aseptic speculations and on the clear mediocrity of the language. For Marco Massarelli this is not true. He starts from a thorough instrumental appropriation and Joins an inseparable and strong professional nature with his soul and mind itineraries. And if we add the fullness of consent, the warmth of talking with ghosts that move from the labyrinths of shadows and become aliver than reality, we realize that his state of poičin, of the artistic "doing" has no lack of balance and does not sucumb. When Massarelli looks at old Egypt, when the lights of the two temples in Abu Simbel with the four colossal statues of Ramses II rekindle in his eyes, from the darkness of millennia to the same buzz of the second catarat of the Nile, or when he looks at Roman archeology, to the Etruscan world or at ancient Greece, particulary at Argopolis, where Mycenae, the Atriadae's royal residence, was the centre of a wondeful civilization, it is clears that his passion for antiquity is not due to mental patterns. His historical-mythical retrospection, which, in his works, is a redeeming memory outside the labyrinth, refuses the painless change of caprices and shows to be an act of conscience. In this perspective the artist manages to harmoniously join the timeless solemnity of classicism with the restlessness(which is often uproar, antinomy, grief) of the romantic language; I think that, recalling the magnificence of Hellas, despite the classic theme, the painter is romantically in the same mood as Schiller in the "Greek Gods" which brings back with sad longing the charm of an irremediably lost paradise.

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