Angelo Maineri - The testimony

The iconography of this painting certainly has allegorical meanings and can be defined, in some ways, as symbolist precisely because of its allusion to underlying meanings. It is a type of subject that can be traced back to the artistic language of the late nineteenth century, such as that of Moreau, Bocklin, or Puvis des Chavannes, who, while using a substantially figurative language, developed intellectually complex iconographies, full of symbolic and allegorical references.

We can fully appreciate the sculptural quality of artist Angelo Maineri in every piece of his oeuvre. His extraordinary technique allows him to consistently achieve a dramatic and expressionist force. In this sense, his treatment of the material is particularly striking: the entire mass of the group is left almost in a rough state. The complex of bodies, arranged in strong vertical tension, is treated with distinctly material connotations that make the surface extremely vibrant and alive. Thus, the more realistic and smoothly textured parts almost seem to emerge from the roughly rough-hewn mass in a struggle for form over matter that clearly references the work of Michelangelo and the contemporary reinterpretations of it by masters such as Rodin and Medardo Rosso.

Angelo Maineri was born in Varese in January 1962. After an apprenticeship in the studio of Viggiù sculptor Antonio Danzi, from whom he learned the fundamentals of the trade, he attended the sculpture school taught by Giancarlo Marchese at the Brera Academy in Milan. Winner of numerous competitions, he began his public creations and his first solo exhibitions at the historic Ada Zunino gallery in Milan in the late 1980s. In 1998, Mario De Micheli presented a major exhibition dedicated to him by the Varese Chamber of Commerce. Numerous public works have been commissioned, and critics, including Milena Milani, Floriano De Santi, and Raffaele De Grada, have taken an interest in his work.

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