Marisa Benetti - Farmhouse

Landscape has always been a central theme in artistic research, both as a setting, as a backdrop, and as a subject itself. The naturalistic depiction of landscape has been a major aspiration for artists of every era. Each historical period has offered its own interpretation of landscape, contributing to the evolution of its depiction: first with an exploration of space, through Brunelleschi's perspective in the early Renaissance; then with atmospheric rendering in the sixteenth century; and finally with the depiction of every single vibration of light on objects in Impressionism.

For artist Marisa Benetti, depicting landscape means achieving, through painting or printmaking, a delicate fusion between naturalistic rendering and poetry. Indeed, her views, in which she employs a purely figurative language, remain rooted in sensory data. Yet reality seems transfigured into a lyrical interpretation that almost transports it into a dreamlike dimension. Formally, this translates into a highly delicate artistic process, where the representation of reality occurs in a rarefied manner. This means that the capture of realistic details and particulars is lost in favor of a more expressionistic and symbolic language. Marisa Benetti's refined graphic style plays a key role in this process, synthesizing objects with elegant and intricate arabesques of fine lines. Thus, her color palette is also distinguished by a delicate anti-naturalistic tendency, whereby the immersion in the soft twilight expresses the artist's poetic sensibility and her almost dreamlike interpretation of the landscape.

Marisa Benetti, born in Siena to her painter father Umberto Chellini, inherited a passion for painting, but was self-taught in both painting and graphic art. She draws inspiration from nature as an inexhaustible source of emotion, creating compositions of memory and imagination. Her etchings immediately attracted the attention of expert critics, from Professor Paolo Bellini of the Catholic University of Milan to critic Professor Enzo Di Martino of the International Center of Graphics in Venice, from Professor Francesco Carnevali, president of the Raffaello Academy of Urbino, to critics Professors Salvatore Fazia and Giuliano Menato. All of Benetti's etchings are meticulously executed at home by the artist, beginning with cutting the zinc plate and polishing it to a high gloss, immediately after which it is waxed and smoked. The wax is then engraved using an awl as fine as an embroidery needle; then we proceed with the numerous "bites" in nitric acid, until the plate is cleaned, any corrections are made and the numbered and signed copies are printed on quality paper by the author herself.

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