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Výstava Mario Ferrante – Láska v čase padajících hvězd

Do 30.10.2016 bude v galerii Italského kulutního institutu, Vlašská 34 (někdy vchod Šporkova 14), Praha 1, Malá Strana, přístupná výstava obrazů Mario Ferrante – Láska v čase padajících hvězd.

MARIO FERRANTE

was born in Rome on November 16, 1957.
He took his first steps toward art and painting by completing a series of material collages and graffiti: a crush of coloured chalks and graphite from pencils found about the house to illustrate his brothers’ fairy-tale books. These are already powerful works of naïf art.
In 1961, the Ferrante family moved to Brazil, initiating a time of nostalgic observation for the young artist. The eos which has continued to infuse his work began during these years.
Starting in 1967, in San Paolo, his parents started him off in the studio of a figurative artist who introduced him to the classical ideals and ancient art of oil painting. The young Ferrante revealed a precocious talent for anatomy and drapery.
In 1970, the Ferrante family moved back to Italy. The artist cultivated his vocation for art with determination by following an experimental path, searching for and creating a figurative language for his artistic expression.
At the end of the 1970s, after participating in numerous collective shows, Ferrante had his first one-man show at the Cloister of Sant’Andrea delle Fratte, in Rome, followed by countless others that celebrated the renewed mannerist spirit. His works met with a great deal of success, opening doors to private commissions and the exclusive artistic circles of Via del Babuino.
The 1980s were a time of intense creative fermentation for Ferrante, coming in the form of deep revelations and insights. The portraits inspired by mythology, combined with the colour modulations typical of classicism, were the fruit of this period.
Study of Echaurren and Matta’s expressive palette led to his experimentation with materials, using stones, volcanic minerals and ground mixtures of plants and soils. Ferrante invented new colours, made from azurite pigment and crushed asphodels and broom.

Starting in 1985, he participated in the Alitalia for Art programme, exhibiting his paintings in the VIP Lounges of the major airports around the world. His works began to be included in the most important intercontinental art currents, from Japan and Korea to the villas of Miami and Hollywood.
His sudden popularity and the curiosity of the academic establishment placed him in the international conduit of the Stein and Sonnabend Galleries.
Ferrante’s experimentation begun in the 1990s found its outlet in the compositions of the metropolitan cycles: the paintings combine an anthropic and informal approach to the traditional landscape framework. He began to experiment with the “wall” concept borrowed from the Corrente group.

In 2000, two major exhibitions in New York – at the National Art Club and the Charlottesville Art Museum and Attractions – brought him definitive recognition from the major international museums.
An essay by Massimo Duranti devoted to the 2003 “Maschere ed anime” show achieved mass attention by its publication on the Internet. By this time, Ferrante’s artistic production had become a constantly evolving language, especially in its narrative style. The artist remained, in any case, impervious to the public adulation and debates, continuing to paint, carefully selecting a limited number of showings,
and directing his inspiration toward Brazilian art and the infinite variations of light found in different parts of the world.
In the works created around the turn of the millennium, the lineaments of the works lose their geometric casting and intensity, the colours take on a more intimate feeling, while the composition is streamlined. The back scenery in the works becomes real and tangible, and the composition takes on a perspective structure. The People moving cycle is the most representative of this period.
Ferrante then began producing works in clay: macumbeiras, garotos and other subjects reminiscent of the meditative carioca experience and his childhood spent in South America. Gradually, Ferrante’s works began to lose their two-dimensional facies and became material, almost sculptural entities, traversed solely by putty knife and nodal weaves.

In the summer of 2006, the “moveable feast” project was begun: a thematic touring exhibition, moving north across the country from the Maschio Angioino in Naples, with stops in Palazzo Venezia in Rome and the Museo Poldi Pezzoli in Milan, with the participation and sponsorship of major government institutions.
In 2007, Mario Ferrante opened the doors of his home to the schools: his studios in Rome and Benevento have become creative factories and teaching laboratories.

EXHIBITIONS / ACTIVITIES

1977: Chiostro della Chiesa di S. Andrea delle Fratte, Roma;
1983: Sala del Capitolo della Basilica dei Frari, Venezia;
1984: Refettorio e sala espositiva della Chiesa dei SS. Apostoli, Roma;
1985: – Museo diocesano della Chiesa di S. Marco di Brera, Milano;
– Sala espositiva della Chiesa del S. Sepolcro,
Milano;
– Salone dell’Azienda Autonoma Soggiorno
e Turismo, Salerno;
– V.I.P. lounge dell’Aeroporto J.F. Kennedy, New York, U.S.A. (a cura di“Alitalia per l’Arte”);
1986: Sala Mostre dell’Istituto Antoniano, Bologna;
1990: Museo del Sannio, Benevento;
1997: Galleria d’arte “Fidia”, Roma;
1998: Galleria d’arte “Edarcom Europa”, Roma;
1998: Mostra collettiva in occasione della rassegna
internazionale “Umbria Jazz”, Perugia e Spoleto
(a cura di “Alitalia per l’Arte”);
1999: – The National Art Club, New York, U.S.A.;
– Centro Studi S. Luigi dei Francesi in occasione della rassegna “Roma Jubilans” (a cura di “Alitalia per l’Arte” in collaborazione con l’Ambasciata di Francia in Italia), Roma;
2000: Galleria d’arte “Edarcom Europa”, Roma;
2001: Galleria d’arte “Camelù”, Roma;
– Mostra collettiva in occasione della “704° Perdonanza Celestiniana” (a cura di “Alitalia per l’Arte”), Fortezza Spagnola de L’Aquila;
2002: – Sala “Club Freccia Alata” Aeroporto Malpensa (a cura di “Alitalia per l’Arte”), Milano;
– Mostra collettiva in occasione della “705° Perdonanza Celestiniana” (a cura di “Alitalia per l’Arte”), Fortezza Spagnola de L’Aquila;
2002: Galleria d’arte “Edarcom Europa”, “Moving people – dipinti 2001-2002”, Roma;
2003: – Maschio Angioino, “Maschere ed Anime – dipinti 2002-2003”, Napoli;
– Galleria d’arte “Il Grifone”: “I figli di Iemanjà – dipinti 2002-2003”, Lecce;
– Galleria d’arte “Ca’ d’oro”, “La stirpe eletta – dipinti 2003”, Roma;
2004: Realizzazione di 4 grandi opere per “Italia Tour”, permanentemente esposte nella Sala V.I.P. dell’Aeroporto Internazionale L. da Vinci di Roma;
2005: Galleria d’arte “Camelù”: “I luoghi del tempo – dipinti 2004-2005”, Roma;
2006: Galleria d’arte “Edarcom Europa”,
“Mario Ferrante – dipinti” (collettiva con Piero Mascetti e Angelo Colagrossi), Roma;
2007: Galleria “Edarcom Europa” (in collaborazione con la Galleria d’arte “Serato”), “Tribalità – dipinti 2005-2006”, Milano;
2007: Maschio Angioino, “Le ombre della Croce del Sud – dipinti 2005-2006”, Napoli



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