Mario Tozzi - Female Figure

Portraiture is one of the most widespread artistic expressions, especially in painting, but also in sculpture, throughout the ages. Portraiture is, first and foremost, a description of the subject depicted, an attempt to capture their physiognomy and individual characteristics truthfully and naturally. With the progressive evolution of artistic research, the physiognomic description of the subject has also been accompanied by a psychological one. Therefore, over the centuries, portraiture has also become a means of introspective investigation of the subject, their character, and their state of mind. The processes of abstraction brought about by contemporary art have contributed to this type of investigation.

This work presents a refined elaboration of a female portrait by artist Mario Tozzi. This elaboration involves a process of abstraction of the figure that primarily takes Synthetic Cubism into account. Indeed, we find the same desire to analyze the subject by dismantling it and arranging it on the plane. As with Cubism, Tozzi, however, leaves reference points for understanding the image. In this case, the composition is dominated by a highly sculptural face, reminiscent of a mask from some ancient civilization, indicating Tozzi's desire to draw on essential and iconic expressiveness. Another significant element is the strong geometric nature of the composition, which harks back to the pure forms of historical Abstraction.

Mario Tozzi was born in Fossombrone in 1895 and passed away in Saint-Jean-du-Gard in 1979. Much of his career was spent in France, having moved to Paris in 1919. There he exhibited at the Salon des Artistes Indépendantes, the Salon d'Automne, and the Salon des Tuileries. In the 1930s, he frequented other Italian artists in Paris, such as Osvaldo Licini and Severo Pozzati. His participation in the first exhibition of the twentieth century was significant. He founded the Groupe de Septs, which brought together Italian artists present in the French capital (including Campigli, De Chirico, de Pisis, Paresce, Savinio, and Severini). He participated in the Venice Biennale in 1948, 1952, and 1954.

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