Marisa Benetti - Farmhouse

Landscape has always played a leading role in artistic research, both as a setting and a backdrop, but also as a subject in its own right. The naturalistic description of landscape has been one of the greatest aspirations for artists of every era. Each historical period has given its own interpretation of landscape, contributing to the evolution of its description: first with a research into space, through Brunelleschian perspective in the early Renaissance; then on the rendering of atmosphere in the sixteenth century; finally arriving at the representation of every single vibration of light on objects in Impressionism.

For the artist Marisa Benetti, representing landscape means achieving, through the medium of painting or printmaking, a delicate fusion between naturalistic rendering and poetry. Indeed, her views, in which she uses a straightforwardly figurative language, remain anchored to sensory data. However, reality seems to be transfigured into a lyrical interpretation of its own that almost transfers it into a dreamlike dimension. All this is translated, from a formal point of view, into a very delicate artistic approach, where the representation of reality occurs in a rarefied way. This means that the recording of realistic details and particulars is lost in favor of a language that is tendentially more expressionistic and symbolic. An accomplice in this path is Marisa Benetti's refined graphic style, which synthesizes objects with elegant and complicated arabesques of thin lines. And so too the color range stands out for a very delicate unnaturalistic tendency, for which the immersion in the soft twilight light translates precisely the artist's poetic sensitivity and her almost dreamlike interpretation of landscape.

Marisa Benetti, born in Siena, inherits her passion for painting from her father, the painter Umberto Chellini, but trains herself as a self-taught artist in both painting and graphic arts. Marisa Benetti draws inspiration from nature as an inexhaustible source of emotions, for a composition of memory and imagination. Her etchings immediately appeared precious to the expert eye of the critics: from Prof. Paolo Bellini, of the Catholic University of Milan, to the critic Prof. Enzo Di Martino of the International Center of Graphic Arts in Venice, from Prof. Francesco Carnevali, president of the Raphael Academy of Urbino, to the critics Professors Salvatore Fazia and Giuliano Menato. All of Benetti's etchings are scrupulously carried out at home by the artist, starting from the cutting of the zinc plate to the mirror-like polishing of the same, immediately after being waxed and inked. We then move on to etching on the wax using a needle with a tip as fine as a sewing needle; then we proceed to the numerous "bites" in nitric acid, up to the cleaning of the plate, any corrections, and the printing of the numbered and signed copies on fine paper by the author herself.

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