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Book of Color I

March 21, 2016

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Last week, on March 16th, a Contemporary and Post-War Art auction took place at Lyon & Turnbull, Edinburgh. During this auction, Mariscotti’s iconic Book of Color I, presented at the 56 Venice Biennale and Galata Museum in Genoa, was sold for £27,500 (inc. buyer’s premium).

Medium: Oil and enamel on wooden panel
Size: 24" x 36" / 60.96 cm x 91.44 cm (open)
Year: 2014

This week saw the opening of highly anticipated VOLTA, the Armory Show’s invitation-only, sister art fair, packed with viewers eager to see what's on view from the 100 exhibitors in attendance. Organizers described the eighth edition of the New York iteration as the most diverse yet.

What sets VOLTA apart from the numerous art fairs dotting Manhattan this week is its focus on lesser known and emerging artists, as well as the fact that each gallery shows only one or two artists per booth. The unique format allows for the introduction to a wide range of new talent while simultaneously affording an in-depth look at individual artists' works.

First-time Volta exhibitors Victori + Mo from Brooklyn showed work by artist Brian Willmont, whose show "Chaos and Wild Again" is on view at their Bushwick gallery space through March 27.

Their booth included a site-specific installation of two paintings which disappear against an identically-patterned wall. Managing gallery partner Celine Mo describes his work as combining trompe l'oeil and airbrush techniques in a graphic, abstract style.

Another first-time exhibitor was Montreal gallery Simon Blais, which presented a solo booth of work by artist Jessica Peters, whose multi-layered work associate director Francois Babineau describes as both "gestural and geometric."

When working on your home decor there's a few things to keep in mind that will save you a lot of headaches down the line. These can be boiled down to color, size, and contrast. There is no right or wrong color for a specific room; however, you should bare in mind that not all colors work well together. For instance, a clear distinction can be made between warm (red, orange, yellow) and cold (blue, green, purple) colors. Usually, palettes are made up of colors that complement each other, whether warm or cold, and colors that contrast well with the former ones. Furthermore, there's the special case of black and white. We refer to these as neutral colors, since they can be thought of as special cases. On their own, these colors tend not to bring much attention to themselves, and they are especially useful when combined with either warm or cold colors since they allow us to mix and match without creating tension between colors.

Size is also an important variable in home decor. Size is especially relevant for artworks, since depending on the work more or less "breathing" space is needed around it. Breathing space is important for both artwork and viewer. Many times artworks can feel dense, and so it is recommended empty space is left around them to allow the work to expand and find some sort of natural balance with the viewer.

Below we find some examples of good practice:

Holiday inspiration

November 08, 2015

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This holiday season give the gift of art. Our very own in-house curator has put together a very special selection of work to make sure there's something for every taste. One of the big advantages of working with seasoned artists like Mariscotti is that there's plenty of options to choose from. For that reason, we went ahead and picked our favorites from each main period, going from the mid 80s to the current year.

 

"Tormenta en el valle", Oil on canvas (Red period, 1980s)

 

"Dark Orange", Oil on canvas (Late Color Abstraction period, 2004-09)

 

"Untitled Black 15", Oil and enamel on canvas (Simplified period, 2010-15)

Two weeks ago we took the train to Florence, Italy, to set up the artworks we were going to exhibit at this year’s Florence biennial, to take place as usual in the Fortezza da Basso, a 16th Century fort located in central Florence. We arrived on the 16th, which turned out to be a very beautiful day, sunny and slightly cool. For this year’s edition we brought Mariscotti’s iconic Untitled 1432 and his latest Book of Color IV, made with oil and enamel on wooden board.

Many artists choose to paint the beautiful; others instead, decide to break down the sign, thus entering in the new universe of non-representation. I would like to introduce, therefore, the visual analysis of Osvaldo Mariscotti, to that school of thought, born exactly one hundred years ago, based on the instinct of Kazimir Malevich, in collaboration with the poet Mayakovsky, which took the name of Suprematism. Malevich argued that the modern artist had to look up to an art finally freed from practical and aesthetic purposes, and thus work only favoring a pure plastic sensitivity. He also argued, that painting until then, had not been more than the aesthetic representation of reality and that instead the end of the artist should be to seek a path that would lead to the essence of art: art for art's sake.

The word "Suprematism" derives from the author's concept of "pure" art: according to Malevich, abstract art was superior to figurative art, since in a figurative painting we see represented an object or living form, while on a supremacist work there is only one element: the color that is expressed in the best possible way in an abstract painting. At the beginning of the Russian artistic Avant-garde there was, as in many other European countries, the desire to rebel against the teachings of the Academy, considered obsolete and no longer able to express many aspects of modern society, radically transformed by the industrial revolution. Cubism had introduced the idea of reducing the shapes of the outside world to their essential elements and to present the subject of a painting in order to highlight the inevitable flatness of the canvas. The cubist style reaches Russian artists thanks to numerous Western Contemporary art exhibitions staged in Moscow from 1912 onwards. Malevich's Suprematism takes the fundamental aspects of cubist painting to their extremes. Malevich believed that it was possible to free art from its bond to represent figures and objects with recognizable images: not having to worry about depicting external reality, art would be able to develop its own proper language and create new realities "no less significant than the realities found in nature."

For Malevich, the most basic elements of Suprematist art were the straight line and the square, which reflect the emphasis he placed on the shapes produced by man rather than those existing in nature. These elements are taken over by Osvaldo Mariscotti. His works are very significant, made from the decomposition of figures such as the rectangle, which is then decomposed into its essential colored lines on a black background.

Mariscotti's search puts him in the context of geometric conceptualism: that reality of thought that holds figuration as malaise and searches for synthesis, as a model to pursue. The many trips throughout Europe, South America and lastly the United States have strongly influenced his way of thinking and seeing art. I would like to define Mariscotti as the "engineer of the sign."

His art examines the "non reality" and breaks it down into geometric shapes. An art, that of Osvaldo Mariscotti, which starts from Malevich's black square to arrive at the development of a new code, based on a succession of figures and lines whose main goal is to give rise to a new communication language. Mariscotti thus creates the new Bible of Geometric art. A Bible that has its own alphabet, made up of geometric sign variables.

Salvatore Russo
Critic and Art Historian

Molti artisti, decidono di dipingere il bello; altri invece, decidono di scomporre il segno, entrando così, nel nuovo universo della non rappresentazione. Voglio ricondurre, pertanto, l'analisi visiva del maestro Osvaldo Mariscotti, a quella scuola di pensiero, nata esattamente cento anni fa, grazie ad un'intuizione di Kazimir Malevic, in collaborazione con il poeta Majakovskij, che prese il nome di Suprematismo. Malevic sosteneva, che l'artista moderno, doveva guardare ad un'arte finalmente liberata da fini pratici ed estetici e lavorare soltanto assecondando una pura sensibilità plastica. Sosteneva quindi, che la pittura fino a quel momento, non fosse stata altro che la rappresentazione estetica della realtà e che invece il fine dell'artista doveva essere quello di ricercare un percorso che conducesse all'essenza dell'arte: all'arte fine a se stessa.

La parola suprematismo deriva dal pensiero dell'autore: secondo Malevic l'arte astratta sarebbe superiore a quella figurativa, infatti in un quadro figurativo vediamo rappresentato un qualsiasi oggetto o forma vivente, mentre sull'opera suprematista non c'è che un solo elemento: il colore che viene espresso nel miglior modo possibile in un dipinto astratto. All'origine della avanguardie artistiche russe c'è, come in molte altre nazioni europee, il desiderio di ribellarsi agli insegnamenti delle Accademie, considerati obsoleti e non più in grado di esprimere i molteplici aspetti della società moderna radicalmente trasformata dalla rivoluzione industriale. Il Cubismo aveva introdotto l'idea di ridurre le forme del mondo esterno ai loro elementi essenziali e di presentare il soggetto di un quadro in modo tale da sottolineare la piattezza inevitabile della tela. Lo stile cubista giunge agli artisti russi grazie alle numerose mostre di arte contemporanea occidentale allestite a Mosca dal 1912 in avanti. Il suprematismo dell'artista russo Malevic, porta gli aspetti fondamentali della pittura cubista ai loro estremi. Malevic ritiene che si possa libera l'arte dal vincolo di rappresentare figure e oggetti con imagini riconoscibili: non dovendosi più preoccupare di raffigurare la realtà esterna, l'arte potrà sviluppare un linguaggio di forme proprio e create nuove realtà "non meno significative delle realtà della natura".

Per Malevic gli elementi basilari dell'arte suprematista sono la linea retta e il quadrato, che rispecchiano l'accento da lui posto sulle forme prodotte dall'uomo piuttosto che su quelle esistenti in natura. Questi elementi vengono ripresi da Osvaldo Mariscotti. Molto significative sono le sue opere, costituite dalla scomposizione di figure quali il rettangolo, che viene così scomposto, nelle sue linee colorate essenziali, su sfondo nero.

La ricerca di Mariscotti, lo pone nell'ambito del concettualismo geometrico: quella realtà di pensiero che denuncia la figurazione come malessere e va a la ricerca della sintesi, come modello da perseguire. I tanti viaggi in tutta Europa, in Sud America e infine negli Stati Uniti hanno decisamente influenzato il suo modo di pensare e vedere l'Arte. Vorrei definire Mariscotti, l' "ingegnere del segno".

Un'arte la sua, che esamina la "non realtà" e la scompone in forme geometriche. Un'arte, quella di Osvaldo Mariscotti, che parte dal quadrato nero di Malevic, per poi arrivare all'elaborazione di un nuovo codice, basato su una successione de figure e linee che hanno come obiettivo, quello di dar origine ad un nuovo linguaggio di comunicazione. Mariscotti crea, così, la nuova Bibbia dell'arte geometrica. Una Bibbia che ha il suo alfabeto, in geometriche variabili segniche.

Salvatore Russo
Critico e storico dell'arte

"... I create shades of color and form that when brought together result in new meaning. This meaning is particular to every individual. It pretty much allows itself to interpretation...In a way, there lies the beauty of abstraction. For a single work can appeal to multitudes for differing reasons. The abstract notion takes the shape of whatever's most meaningful to the individual staring at the work."

In New Meaning, Estelle Lovatt presents crucial ideas portrayed in Mariscotti's latest work.

Welcome!

March 13, 2013

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Welcome  

Lovely to see you all! It is with great pleasure that we welcome you all to The Shop @ MARISCOTTI ART. You will be able to check out new products, stay up to date with everything MARISCOTTI and much, much more. Currently we offer a few selections of posters inspired by Mariscotti's works as well as Fine Art prints which are available upon order. Feel free to check back to the blog for news on discounts, special promotions and latest products. We'd greatly appreciate your feedback on things that you feel are not clear or that could be improved on. We look forward to hearing from you. Happy shopping!

MARISCOTTI ART Team