Maria Rosa Muzzi
è nata a Faenza. Diplomata al liceo artistico di Bologna, ha frequentato l'Accademia delle Belle Arti di Bologna e ha conseguito il diploma di Maestro d'arte presso l'Istituto d'Arte per la ceramica di Faenza. Docente di Educazione Artistica. Accademica associata del Verbano sezione Arte. Accademia internazionale "Greci Marino" - Vinzaglio (No).Maria Rosa Muzzi, con le sue opere di pittura e di scultura esprime un concetto fondamentale in cui tecnica, stile, immagine si fondono con i sentimenti più profondi dell'anima per esprimersi in una forma artistica che possiamo definire SIMBOREALISMO
L’arte della Muzzi ci prepara a scandagliare l'anima. Le sue ninfe voluttuose e sensuali, ma a volte cosi eteree, le sue donne calabresi, cosi amorevolmente ruvide, calate dove l'amara realtà assume l'incanto del sogno, le sue teste di terracotta, cosi plastiche e classicheggianti, sempre colte in un atteggiamento introspettivo, dispongono all'ascolto dell'anima.
Le figure - puri volumi - sono inserite nell'ambiente naturale tipicamente dai colori caldi calabresi. Notiamo come l'artista traccia, con armonia cromatica, i corpi delle donne dalle curve rotondeggianti immersi in un'atmosfera statica, idilliaca. Legate da identità di temi, da luoghi e modi che ritornano continuamente, da cose e personaggi che restano da un'idea all'altra in gioco di echi evocativi che conservano intatte il sapore del tempo, l'essenza del destino e la luce della speranza.
Oltre agli amabili bassorilievi in terracotta raffiguranti ninfe avvolte in sottili giochi d’acqua policromi colpiscono le ballerine, “le sue ballerine”, che non vorrebbero mai smettere di danzare perché pur in posizione di riposo pensano e fanno pensare al movimento, soprattutto riflettono e fanno riflettere verso un quasi preordinato sistema di idee che posa su di un “reale” mondo dei pensieri che avvolgono e risucchiano, cercando quasi di evitare le pressioni del quotidiano, per approdare a spiagge fantastiche, espressione della sua garbata e splendida poesia.
Muzzi rappresenta gli umili, i contadini, personaggi che non fanno azioni esemplari, storiche, decisive. Vivono la propria quotidianità senza rendersi conto di essere rappresentati e immortalati nella pittura. Non si mettono in posa. Vengono ritratti nella loro condizione umana. Esistono dei legami importanti, come detto,con Gauguin, con la robustezza di impianto compositivo, poche figure, masse ampie. Ma anche con Ottone Rosai, letto in chiave decisamente meno metafisica, di cui è rimasta principalmente la lezione tecnica. Esperienze come quelle di Van Gogh e dei Fauves costituiscono un ulteriore serie di contatti che ricostruiscono quella trama di relazioni culturali che sono alla base dello stile della pittrice. Prof. Donato Di Sepio
Hanno inoltre scritto i seguenti critici : Di Sepio – Cilento – Belgiovine – Serradifalco – Giuliani – S. Di Sepio – Mazzetti – Antonelli – altri…
Maria Rosa Muzzi è nata a Faenza. Diplomata al liceo artistico di Bologna, ha frequentato l'Accademia delle Belle Arti di Bologna e ha conseguito il diploma di Maestro d'arte presso l'Istituto d'Arte per la ceramica di Faenza. Docente di Educazione Artistica. Accademica associata del Verbano sezione Arte. Accademia internazionale "Greci Marino" - Vinzaglio (No).
Maria Rosa Muzzi, con le sue opere di pittura e di scultura esprime un concetto fondamentale in cui tecnica, stile, immagine si fondono con i sentimenti più profondi dell'anima per esprimersi in una forma artistica che possiamo definire SIMBOREALISMO
L’arte della Muzzi ci prepara a scandagliare l'anima. Le sue ninfe voluttuose e sensuali, ma a volte cosi eteree, le sue donne calabresi, cosi amorevolmente ruvide, calate dove l'amara realtà assume l'incanto del sogno, le sue teste di terracotta, cosi plastiche e classicheggianti, sempre colte in un atteggiamento introspettivo, dispongono all'ascolto dell'anima.
Le figure - puri volumi - sono inserite nell'ambiente naturale tipicamente dai colori caldi calabresi. Notiamo come l'artista traccia, con armonia cromatica, i corpi delle donne dalle curve rotondeggianti immersi in un'atmosfera statica, idilliaca. Legate da identità di temi, da luoghi e modi che ritornano continuamente, da cose e personaggi che restano da un'idea all'altra in gioco di echi evocativi che conservano intatte il sapore del tempo, l'essenza del destino e la luce della speranza.
Oltre agli amabili bassorilievi in terracotta raffiguranti ninfe avvolte in sottili giochi d’acqua policromi colpiscono le ballerine, “le sue ballerine”, che non vorrebbero mai smettere di danzare perché pur in posizione di riposo pensano e fanno pensare al movimento, soprattutto riflettono e fanno riflettere verso un quasi preordinato sistema di idee che posa su di un “reale” mondo dei pensieri che avvolgono e risucchiano, cercando quasi di evitare le pressioni del quotidiano, per approdare a spiagge fantastiche, espressione della sua garbata e splendida poesia.
Muzzi rappresenta gli umili, i contadini, personaggi che non fanno azioni esemplari, storiche, decisive. Vivono la propria quotidianità senza rendersi conto di essere rappresentati e immortalati nella pittura. Non si mettono in posa. Vengono ritratti nella loro condizione umana. Esistono dei legami importanti, come detto,con Gauguin, con la robustezza di impianto compositivo, poche figure, masse ampie. Ma anche con Ottone Rosai, letto in chiave decisamente meno metafisica, di cui è rimasta principalmente la lezione tecnica. Esperienze come quelle di Van Gogh e dei Fauves costituiscono un ulteriore serie di contatti che ricostruiscono quella trama di relazioni culturali che sono alla base dello stile della pittrice.
Prof. Donato Di Sepio
Hanno inoltre scritto i seguenti critici : Di Sepio – Cilento – Belgiovine – Serradifalco – Giuliani – S. Di Sepio – Mazzetti – Antonelli – altri…
Maria Rosa Muzzi was born in Faenza (Ravenna), a city famous for its ceramics art, where she lived until 1970. Having majored in the plastic art in High School, she attended the Academy of Fine Arts in Bologna and the Institute of Ceramics 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 and bronze.
All of Muzzi’s work reflects what she sees as the primary role of the artist: to light up inner feeling by presenting works rich in intention and suggestions. To contemplate the works of Maria Rosa Muzzi, be they paintings or sculptures, is to contemplate creations of the soul.
THE ART OF MARIA ROSA MUZZI
We frequently listen to considerations which would like to define the art as something of substantially inseparable from the spontaneity. Our common way of considering, defining the art, goes up again to a simplification of the romantic culture. The art as passion, as representation of torment and of Pathos, ideals recurring in that phase what we call romantic, they have produced the common place which we were about saying. But the genesis of this false truth, of this obvious truth, is bound also other factors. The contrast between idealism and Marxism took consider the art as pure sentimental exercise, free by every implication “practise” or as propaganda activity, with the indispensable vocation to educate the masses and reduce the really role to that of social politician struggle tool. To our eyes today, on the specialized plan, none of these two extremes can still consider him as current. Nowadays, the essence of art is studied, at least by scholars that descend from Aby Warburg passing through Panofsky and Gombrich, in the contest of a plot of disciplines which together compete to the comprehension of the artwork.
But in the lounges the art still remains the best enemy to be opposed to the industry, to the concreteness, to the money and the interest. Something reserved to elect spirits that repudiates the logic of the business, that live of air and culture. Losing so, most of all regarding the medieval an modern art up, at least, to the first ‘800, the big and charming complexity of the genesis of un artistic work, that extraordinary sum of demands from a part practical, contingent, poor, and on the other takes philosophical, spiritual, religious, psychological. In the moment in which, about to the half of the XIX century, the art begins to represent daily scenes (even if that was not the first time it turns in the history of the art), anonymous personalities without prestigious social roles or interest in everybody, the idea the artistic production identifies with the spontaneity seems to receive one precise reinforcement.
Actually that painting of the “normality” is daughter of deep and articulate implications and who chose her did it on the base of reasons nothing at all intuitive, or immediate. There was, consciously or unwarily , a set of reactions based on process of total evolution of the mentality that find their origin into ways, personal and general nothing at all workable as fruit of the “spontaneity”. That is, for itself, the opposite of the art, everyone has the spontaneity and not everyone, obviously, is artist. Another factor that influences this diffuse feeling is a thought very diffuse in Manierista epoch. The true artist is that one who can execute the work, with all the difficulties which the artist creations involves, with self-assurance, with “Sprezzatura”, detachment. From which spontaneity.
The equation art=spontaneity has, in my opinion, some responsibilities which are right beyond the banality and the forgery. It contributes to do that the financial resources dedicated to the culture by our political and entrepreneurial system are minimum and that not exist diffuse investments in the art with end of profit. Some funds are spent for the art with the purpose of increase in value of business image, just with advertising ends. Does not exist a deep-rooted consciousness that investment in art mean produce profitability saving, between the other, the cultural property.
The money-culture link is still much opposed by the Italian intellectual world which see in it a kind of corruption of the artistic goods. Prevails the conviction, completely unprovided of historical meaning, that the art must be of public property: as if the Farnese Palace in Caprarola, the Aldobrandini’s Villa in Frascati, Medici’s Villa in Rome, and a huge amount of masterpiece of the past, were not private property works. We have this famous artistic property, really thanks to the fact the art was produced for the private property, with private’s money, for their joy. A revision serene, less ideological of the theme. Would allow attracting financial resources which could otherwise save many artworks in decline.
The painting by Maria Rosa Muzzi, risks very much to this limited interpretation done to the light of the “spontaneity”. Because 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.
The creative way of Maria Rosa Muzzi begins to the age of just 10 years, when she starts following the first drawing school. Her formation goes on with the institute of art the ceramics in Faenza, town which the Muzzi was born in, and then the Artistic Secondary school frequented in Bologna, where gets the teacher title of master of the ceramics. The moment the vocation to represent the humble ones finds out, it when, after the marriage, visiting Calabria she pauses to observe for long hours the fishermen or the rural ones working the fields. We are in the 1980s. This moment will mark in the depth all the next creative experience of Muzzi. Our artist’s stylistic way is driven by various references.
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.
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.
Maria Rosa Muzzi certainly loves the impressionists but her art goes further on, does not stay in a reverential imitation, it points out a precise autonomous language capacity. But is her before painter o sculptress? Chronologically the answer takes colours, brushes and horses to the mind. But on the methodological-philosophical profile, the artistic creation by Muzzi drifts by an alone one inspiration: it leaves from one only idea that sometimes is translated in painting sometimes in sculpture. Follow the causes, the dynamic of this way it is enterprise maybe not possible, that examining in detail does not concern us in this place. What we know is that she is born as a painter. The landing to the sculpture is next but not for this less happy.
We are in other words in front of un artist of wide experience which his figure stylistic, become by now unitary, consistent, mature has gained in the years. An artist who can turn its perception of the real into one expressive recognizable and rich synthesis of charming cultural relations.
THE ARTISTIC PERSONALITY OF MARIA ROSA MUZZI
To understand this humanity, just as it is conceived in the artist's heart and mind, is to pass from dreams to reality. Her works acquire meaning and a life beyond the frames in which they are held, because the artist conceived her ideal kingdom as a place to be inhabited by characters who already have their own souls and who represent a precise emotive state with an inner strength which is very much alive and which begins and ends real incidents in the daily lives of each one of us. Therefore it is very easy for anyone, even those who know little or nothing about painting, to recognize a work by Maria Rosa Muzzi at first glance.
Her personal style of painting, which in the extreme care that goes into it, could also seem virtuosity, is the fruit of long, careful and passionate artistic research. Gifted with an extraordinary pictorial temperament and devoid of any objective other than working and painting better, Maria Rosa Muzzi has her place in the polychromatic aspect of modern art.
She is very aware that painting, perhaps the most difficult of all art forms, requires each modern day artist to learn for himself and through his own work, all the concepts and notions that in past times were transmitted from mentors to their pupils.
It is for this reason that she ploughs on indefatigably towards her objectives, keeping her eyes open to the world, determined to perfect and develop her craft without pretense, while at the same time following her artistic sentiment when faced with the spectacle of nature, of Man and objects.
Donato Di Sepio
