Umberto Mastroianni - Untitled - FBON001

The work is an abstract composition. "Abstract" derives from the Latin term "abstrahere," meaning 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 colors that do not exist in nature, or translating their emotions and instincts into images. Umberto Mastroianni is one of the most important representatives of Italian abstractionism. His research within this aesthetic has undergone considerable development, leading to diverse outcomes, ranging from organic biomorphic to mechanomorphic and geometric.

As we can see in this work, Umberto Mastroianni's process of abstraction often takes the form of this sort of assemblage he creates in his paintings. In this case, the assemblage forms a large mechanomorphic organism (in other cases, Mastroianni seems to prefer biology), which consequently transports the work into the surreal dimension of a hermetic machine. This particular work is particularly interesting, as Mastroianni further emphasizes its mechanical nature by also resorting to the real use of washers and wires. In this way, he brings to life, on the painted surface, a sort of enigmatic device. Formally, the composition's rhythm is frenetic and extremely dynamic, leaving the viewer with no reference points. The painter can thus give free rein to his creativity and gestures, including through the distribution of color in a decidedly elaborate and gestural manner.

Umberto Mastroianni was born in Fontana Liri in 1910 and passed away in Marino in 1998. He was a sculptor and partisan. He moved to Rome in 1924 and began his training at the Accademia di San Marcello. In 1930, he received his first recognition with the International Tourism Award and began exhibiting his work in both national and international exhibitions. From 1933, he exhibited regularly at national trade union exhibitions and was invited to all the Rome Quadrennials, the Turin Promotrici, and the Venice Biennials.

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