Mario Marcucci - Untitled

The work of the painter Marcucci presents two sides; one depicts what appears to be a cat in motion, while the other features a naturalistic composition with flowers. The depiction of the subject, presumably a cat, can be ascribed to a study of movement. Typically, this practice of artists observing the movement of a specific subject to recreate its dynamism and energy undoubtedly aims to deepen the compositional, anatomical, and vital study of the chosen theme. This type of study is achieved in various art forms, such as painting, sculpture, photography, and drawing. The image on the back, however, tells a completely different story. The flowers are more akin to traditional representation, which embraces still life as an artistic genre. Still life is often used to explore light, color, texture, and composition, and can be seen as an opportunity for artists to express symbolic or deeper concepts through the arrangement of objects.

Marcucci's painting style expresses a post-impressionist nature. Both figurations aim to capture the subject's sensory qualities, capturing its essence and substance. In the first depiction, the cat's dynamism is captured by the continuous repetition of the drawing, which treats the subject, represented on different planes of the surface, with sinuous lines and different perspectives. The work on the reverse, with flowers in the foreground, focuses less on the drawing than on the painted representation of the color that shapes the subject. The richly deconstructed brushstrokes construct each individual detail with their respective luminous vibrations. The planes overlap, and the subject merges with the complexity that surrounds it.

Mario Marcucci was born in Viareggio in 1910. His passion for drawing and painting was cultivated from childhood. Self-taught, the simplicity of his painting was influenced both by his austere family environment and solid values, and by the artist's propensity for using random media such as newspaper pages, notebook sheets, the back of a postcard, or a piece of wrapping paper for his works. A self-described naïve artist influenced by Silvestro Lega and Giovanni Fattori, between 1930 and 1932 he was called up for military service as a quartermaster in the naval unit in La Spezia, where he struck up a friendship with the painter and writer Luca Ghiselli, a crucial influence on his development. The 1934 exhibition at the Kursaal, Viareggio's casino, introduced him to the paintings of Scipione and Mario Mafai, thanks to a meeting and review by Gino Parenti. Subsequently, in 1937, he shared the Viani Prize with Fabio Sargentini, earning the admiration of Carlo Carrà, who highlighted him in an article in the “Ambrosiano” as one of the most outstanding figures of young Italian painting. He continued his pictorial research and exhibited in numerous galleries throughout Italy, also participating in important exhibitions such as the III Premio Bergamo, one of the most prestigious competitions in Italy, where he won. Subsequently, in 1948, he took part in the V Quadriennale di Roma and in the same year was invited to the XXIV Venice Biennale. In the 1950s, his exhibitions declined, during which time the painter was in Rome, before returning to Florence in 1966. In 1968, the Galleria Farsetti in Prato organized a major exhibition in his honor, bringing together 100 of the master's works. He died in 1992.

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