Carlo Mazzoni - Braderie de l'Industrie

The urban landscape was already a popular subject in the Middle Ages and the Modern Era, but predominantly in an idealized manner. Scenes of city life became typical themes with a more realistic interpretation starting in the 19th century. It's worth remembering how, immediately following the realist movements of the 19th century, the Impressionists also placed great emphasis on the everyday, on everyday life, with a certain predilection, however, for the frenetic pace of the city, its crowds, traffic, and typically bourgeois settings. In Carlo Mazzoni's artistic production, the urban landscape is the absolute protagonist, so much so that it completely ignores the presence of humans. For this reason, Carlo Mazzoni's works are not a celebration of city life, but rather an aesthetic and formal exploration of urban views.

For Carlo Mazzoni, the Parisian urban landscape, which he reiterates throughout his pictorial production, is a formal exploration. The streets lined with buildings, with their regular, geometric lines of doors, windows, and walls, provide a pretext for a rational arrangement of reality. Although the diagonal view of the street lends great dynamism to the composition, in Carlo Mazzoni's work, the urban landscape unfolds in a carefully calibrated balance of shapes and colors that establishes the artist's rational gaze as a fundamental prerequisite. The volumes of the buildings fit perfectly into an interplay of overlapping planes and perspectives. This does not detract from the fact that Mazzoni's landscapes are nourished by life, almost humorous in some cases.

Carlo Mazzoni, born in Rome in 1922, was a journalist sent to Paris during the existentialism era. Captivated by Picasso and Cubism, he met Masson and Matta, befriended Prévert and Mario Tozzi, and reunited with Gentilini and Orfeo Tamburi. In 1954, he held his first exhibition at the Galerie de Rohan, followed by others in Paris, Switzerland, Germany, the United States, South America, and, of course, Italy. After his Cubist and Abstract-Informal experiences, Mazzoni devoted his work almost exclusively to figurative art, with expressionist tendencies (Nolde, Otto Dix) that later drew on the Viennese Secessionists (especially Egon Schiele) and neorealism, revealing the existential journey of man with affectionate irony, rather than addressing social values ​​and political commitment.

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