Mario Rossello - Cat and Bird

In the history of art, a clear distinction can often be made between figurative and abstract stylistic movements. However, when an artist's goal is to depict an object that resonates with phenomenal reality but is also charged with hidden and symbolic meaning, this boundary can become blurred. Symbolism and Expressionism are emblematic stylistic movements in their conceptual interpretation of reality, with an iconic rendering of images and a symbolic interpretation in the use of color. In Mario Rossello's paintings, abstract and figurative often blend almost seamlessly. This painter's favorite subjects are the more traditional ones, landscapes or trees. In this case, he draws inspiration from animal representations, but everything is transfigured into an extremely experimental language, always striving for strong expressiveness.

Mario Rossello's research fundamentally moves between the geometric abstraction of reality and its transfiguration into a decidedly pop aesthetic, inspired by the world of graphics and design. In this work, however, we find slightly different inspirations. The geometric element persists in the construction of the space, structured on perfect orthogonal lines that give life to the depth of the room and the inclination of the plane. Within this perfect construction, the two animals, rendered by Mario Rossello through an intense pictorial vibration, operate. The subjects, in the synthetic and gestural brushstrokes that animate them, are pure movement and life.

Mario Rossello (Savona, December 8, 1927 – Milan, December 14, 2000). He trained as a ceramist in Albisola Superiore and, after a post-Cubist figurative beginning, moved towards abstract painting. In the early 1950s, he frequented Milan and its artists. In 1957, he participated in the exhibition "NUCLEAR ART" at the Galleria San Fedele in Milan. His first solo exhibition was in 1954 at the Galleria Sant'Andrea in Savona. His painting continued to retain strong "nuclear" references, and in the late 1960s he took a more abstract path, then arriving at the robot series, and in the late 1970s, the work that most defined him, the "Alberi." Some of his most significant exhibitions include the 1986 Venice Biennale and the Rome Quadrennial. In 1985, he exhibited at FIAC in Paris, 1976 at Palazzo Grassi in Venice, and 1973 at Palazzo Reale in Milan.
His stay in Paris in the 1970s brought him further intense and significant cultural exchanges. He continued to work, dividing his time between Albissola and Milan until his death.

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