Presenze


marco massarelli presenzeTherefore, it is always the warm genuineness and immediateness of emotions together with the most suitable technical-stylistical discipline to give value and complete meaning to Massarelli's paiting. Such achievement does not exclude, on the other hand, subtle and very modem moods: in different ways and in the lasting communicative figurative features is the symbiotic relationship of time-light movement which was the key of Futurism; especially of Boccioni and in a certain way recalls Robert Delauney's "simultaneous phrasing". This can be seen in the two opposite groups in Treasure of Sifni (Massarelli has saved the plasticity of the wonderful basrelief from the wearing of picturesquenness through a forceful migration of volumes and chiaroscuro effects), the overwhelming figurative allegory which in Mycenaeau Tranfert joins together the symbolic past with the present expressed by a contemporary sensitive young woman; and also a far reaching Tribute to Bernini, full of geometric features; the new magical working-out of The Girl from Anzio (the extraordinary nineteenth-century find dates back to the IV° century b.C. when the Volscian capital became a Roman colony) and in the end the high Reef of the Silent Arch painted blue and full of dawning thrills. However it is necessary to explain that Massarelli is a poet of colour and form, in spite of adding a lekyothos (which is all but additional), an amphora, a cup in the evocative contest, even when he proposes a lyric summary of everyday life: a Glory of Sunflowers highlighted by a bright stream among shadow, the gir of Mimosas for My Sadness, or the other two young women near a Greek-Italic ointment jar, surrounded by an atmosphere of indefinable omen. The oneiric transposition is the qualifying element which rules in Massarelli's oil-paintings. That Is to say, the ability to plunge the many suggestions of phenomenal empirical activity in the realm of dreams, except for the sign of the artist. Renato Civello

Fanciulla d'Anzio e paradiso sul mare

2002(Victor Hugo Antei)

It Is an easy task to interpret a painting of the artist Marco Massarelli born in Anzio, for one who has known him as a person and an artist. On the other hand who approaches him for the first time can be met with a certain difficulty. This Is a reason whic persuades me to write my thonghts. Massarelli's paintings asks the observer to stand and reflect deeply and carefully, because the evolutive process of this artist which is costantly searching new themes and techniques knows no rest. It is important to be ready and attentive to discover the creative quality in his work and a new way of trusting the canvas to elaborate the umpteenth aspect of "reality" which is still unexlored. In every way Massarelli's paintings show in the intuition of the theme and realization some fundamental structures which by now are strengthened and consolidated. The first is the painstaking almost carthusian research of unusual architectonics, natural forms, planes, contrasts, which he is able to "focus" on as an expert photographer or experienced director. Simple and humble matters - one might say - extracted from the objective world, freed from the unknown and set as protagonists in the picture, supported by the rising revealing, enlivening luminous light. Here we come to a second fundamental structure: light. Not one of Massarelli's paintings disappoints this need. They all present a point of light, an area which focuses and exhalts the painting. Massarelli is aware that the light contairts and reassumes the natural range of fundamental colours, indeed it should be said that it holds it, as Aristotle states, the intelligent "quintessence". And in his paintings the light is vital, because it also reflects his inner world and witnesses the artist's anxiety, searching in his understanding of the good and the beautiful. Moreover Massarelli's paintings always imply a message which the artist offers discreetly and delicately, allowing the observer the stimulus and pleasure of the discovery. I think that the artist resorts to hazy techniques, to half ligths to embedded geometric figures, which are set trasparently for the observer to discover the message. The artist in his research of subjeet tranfers his impulses and stimuli, which work as catalist, between the subjective and the objective, distributing his creativity in all directions: wrougth iron, a caryatid, a statue or some thing bizarre, a dance step, a face in distress, dead nature, a shell an archeological finding. The evidence of a rich past which generations have sown along the coast have not escaped this artist,who is a son of Anzio and the sea. To mention the expressive techniques: Massarelli knows them all. He is master of all tricks put in his paintings where dark colours and flashing lights prevail, it is felt but not defined, because the artist uses his own personal technique which is still "top secret" but gives results. At an attempt to guess: it conld be a "SEQUENCE'S QUALIFIED PAINTING?". To conclude this note with a pratical consideration: a "Massarelli" can be set in any "warm" cultural enviroment, and besides this it is always an intelligent investment. Victor Hugo Antei

WWW.MASSARELLI-ARTE.IT
ESTRATTI DELLA GALLERIA D'ARTE