Mario Busellato - Mirko

The painting can be defined as a genre scene, that is, the depiction of an episode of everyday life that, apparently, lacks any significant element. These types of domestic subjects were long considered minor and only began to spread in Western art starting in the 17th century. Only with the development of 19th-century realism did everyday subjects become considered as important as historical or religious ones.

The style of artist Mario Busellato is typical of the naive school. The naive artist is by definition self-taught, or almost so, someone who has found inspiration within themselves. Stylistically, this translates into figurative painting that offers a simplified interpretation of reality, with childlike and unwittingly primitivist overtones. However, even the naive artist, in his spontaneity, possesses a self-awareness that leads him to develop a very specific aesthetic language, distinguishing it from amateurism. As we can see in this work, the process of simplifying reality is applied to a peasant world, guardian of the primary values ​​that naive painting seeks to extol. Furthermore, from a formal perspective, Busellato's style transfigures reality into a fairytale dimension. The images, formed by pure lines and colors, become iconic, imbued with a blend of the archaic and the magical, precisely what we find in fairy tales.

Mario Busellato (1935-1993) was one of the leading figures in Italian oil painting on glass. His artistic career began in 1975 with solo exhibitions at the Galleria Bijan in Bolzano and the EUR Center in Rome. In the following years, he exhibited in numerous Italian and European cities, from Florence, with a solo exhibition in 1979 at the Galleria Michelangelo, to Rotterdam, where the Marcan Gallery presented a major exhibition of his work that same year. In 1984, his works were presented at the Palazzo dei Congressi in Salsomaggiore, and in 1989, Selection Art curated a retrospective of his work in Turin at the Galleria d'Arte Portici on Via Cernaia. The press and critics devoted considerable coverage to his research and work, from Corriere della Sera to Rai Tre, with a feature on his 1981 exhibition in Trento.

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