Paradoxically, we could say that Tonino Maurizi’s artistic research is surpassing himself, moving forward his age. Its nature derives from an artistic history, happening in the period in which Tonino Maurizi was a young student at the School of Art in Macerata. That artistic moment was gaining in importance and he could glean from it.
When Maurizi submitted courses in latest 50s, the School was transforming, it changed its name in Art Institute and then it became Artistic Lyceum, as today. It provided with a new Statute and it turned toward an artistic qualification. At first the School was oriented to Crafts but in the latest 50s Art began to be practiced itself, with only few references to techniques and functional disciplines. In those years new teachers reached the School and they determined a radical change to the New. Let us give you some names: Zoren (Renzo Ghiozzi), Marone Marcelletti, Vincenzo Monti, Nino Ricci, Tonino Ferrajoli, Paolo Magri Tilli and after little time Umberto Peschi.
Why do we remember this History, focusing on Tonino Maurizi’s works referring to artists sometimes unknown and in some cases guilty forgotten? Because in those years, meeting those important artists, Tonino Maurizi had the opportunity of test his vocation and his artistic tendencies, differently from the first Maurizi family’s aim and perhaps Tonino Maurizi’s too, to start a business related to Art but not fully based on it.
At those times, his passion for Figurative Art was born and even if it is not widely known, that passion grew up and it’s going on without breaks nowadays. The results of that passion are those who we find in this short exhibition, organized in little pieces, showing a path characterized by different kind of works and periods.
The whole research of Tonino Maurizi is founded on the art of drawing, studied and learnt at School by his teacher and artist Guglielmo Ciarlantini. This was a dogma of artistic Faith, taught inside the School! Maurizi’s drawings show how spontaneity and method grows simultaneously in a comparison that characterizes paintings, too. Contrast and communication are always a stimulating ferment during all his artistic research.
Light and transparent coloured strips paintings, geometric convergencies remembering landscapes but also often convergencies adapted to a construction logic, orthogonally set that in some cases leave spaces for informal material works with stressed gesture. What does emerge about the ancient School of Art teachings? Firstly the sense and desire of modernity. Maurizi gained that prophetic vision from his teacher Zoren, who let his students know an international artistic activity, animated by artist and gallerist Fiamma Vigo, today considered as a supporter of a certain Modernism ranging from art and design, from Bauhaus to Enrico Prampolini and the Art Club.
Maurizi’s enthusiasm to that artistic direction strengthened after he met Ivo Pannaggi (not a simple Teacher but Master of Modernity both in artistic, architectural and design languages. Some of Maurizi’s works show a concept of Applied Art that blend aestethic taste and shapes functionalism, a fusion of techniques and genres overflowing to Design and, occasionally in Maurizi’s research, to Sculpture. A dry stylized sculpture closer to figure than his painting.
At last, we can find in Maurizi’s work a conceptual component, well rendered in his big sized works that can be considered as a sort of tale or diary of his whole living and creative path, deriving from education and enriched by new themes, due to living and professional experience. That’s why Maurizi’s poetic and linguistic identity got clearer and clearer.
It’s really interesting to discover such a rich exhibition able to express all these things and to take stock of a long period of research and life, a story built by pictures, shapes and colours, reflecting ages, temporary moods and sensations lived with empathy. Only who has a story interlaced with art can offer such things. Enjoy this opportunity.
Lucio Del Gobbo