Antonio Marasco - Untitled

The work is an abstract composition. "Abstract" derives from the Latin term "abstrahere," which means to extract or draw out. The process of abstraction, in fact, consists of eliminating the particular and individual aspects of an object to derive a universal concept. From Kandinsky to Mondrian, from Pollock to Mirò, many painters have pushed the process of abstraction to the limit in their works, paradoxically creating pure forms and pure colors that do not exist in nature, or translating their emotions and instincts into images.

This work by Antonio Marasco demonstrates key elements of his artistic research. We are referring to the neo-futurist phase, in which movement, abandoning the kineticism and dynamism of the early twentieth-century avant-garde, takes on more static and abstract forms, generated by geometric mechanomorphism. Thus, the process of abstracting phenomenal reality leads the artist to a work of extreme synthesis, resulting in pure forms and pure colors. The influence of Kandinsky, a fundamental figure for Antonio Marasco, is certainly strong, but this work also contains references to Mirò's abstract surrealism, in the essentiality of the vividly polychrome composition within a white space.

Antonio Marasco (Nicastro 1896 - Florence 1975). In 1914 he met Marinetti, with whom he traveled to Russia, during which he met Mayakovsky, Malevic, Tatlin and the exponents of the Russian Avant-garde. In June 1914 in Florence he met Umberto Boccioni, with whom he participated in the Futurist Exhibition at the Panama-Pacific Exposition in San Francisco, California, in 1915. In 1932 Marasco founded an "Independent Futurist Bloc" and in 1933 the "Futurist Initiative Groups", distancing himself from Marinetti. Marasco and Marinetti, however, returned to a reconciliation with official Futurism, not only from a political-social point of view but also in the direction of artistic developments towards Aeropainting (1931). In 1939 he was also invited to the Rome Quadrennial and in 1942 to the Venice Biennale. He was present at the Rome Quadrennial in 1948 and 1952, at the Venice Biennale in 1952 and 1960, and above all at the historic Futurist exhibitions held at the Kunsthans in Zurich in 1950, at Palazzo Barberini in Rome in 1959, at the Kunstunseum in Winterthur and at the Stadlischen Gallery of Yale University and at the Palazzo delle Esposizioni in Rome in 1959. In 1967 he joined the declaration-manifesto of "Futurismo Oggi" promoted by Enzo Benedetto.

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