Various

Mariano Bachetti - Artist - Works

Mariano Bachetti - Artist - Works


ART AND ENVIRONMENT

Mariano Bachetti, the works


At the time of Dalì


Water and fire


The kiss


In the kitchen


Infinity of light


Pedrum


Fleeing from Vesuvius


Tutankhamun


Nativity


Pulcinella and Castel Dell’Ovo


Pyramids


Surfer


St. Joseph


Fishes


Neapolitan Mastiff

LOOK AT THE CURRICULUM OF MARIANO BACCHETTI

If you are an artist and you want to publish your works on this site, write to the address [email protected]


Denis Bachetti, the creative flair of a brilliant artist

Denis Bachetti. Hers is an oil painting on medium to large canvases - usually 190 × 160 cm or 110 × 80 cm -. It starts from instances that can probably be defined as aimed at achieving a certain calm abstract lyricism through a fluid and sudden gestural painting at the same time devoted mainly to slow and calibrated brain tones, to mellifluous notes rather than to vivid and lashing tonal characterizations. He has a morbid admiration for De kooning or Arshile Gorky among the American actionpainters as for Cy twombly or William Baziotes, or our Licini - his great countryman - and Afro Basaldella, Alberto Gianquinto and a few other masters.

1) Where did Denis Bachetti's painting come from?

My painting is born from memory, from taking charge of the supposed meaning of the flow of time on the human thing and is revealed in the meager iconography of a further world fixed in consciousness through memory, the suggestion of the historical memory of the subject, the phonetics of the word which awaits the arduous task of designating and certifying it.

2) What, in one of your paintings, best focuses your artistic personality?

Its semantics so sparse and indecent made of fragile and scratched, innocent and precarious signs as indicated by the title of the exhibition cycle that began in June of this year and which will end in 2017.

3) What messages can you read there? Do your colors also express moods?

I believe that the titles indicate to the user the path to follow, although without a figural or sometimes incomprehensible counterpart they can route and accompany him. The colors are strongly evocative and predispose to such an excursion.

4) Generally, what impression do you try to arouse in those who observe your paintings?

I try to awaken consciences by shouting loudly that each of us must necessarily recover the intimate and secret meaning of the things of the world, be they an object, a concept, an eventuality, internalize and reformulate the things of the world according to a completely personal order: smurfy nickname that we attribute to our partner: well it in its apparent simplicity is the euphonic result of various components such as memory, memory and emotion.
5) A critical evaluation of your painting?

Quiet abstract lyricism seems to be a pertinent definition.

6) Any of your spiritual fathers?

All men for giving me that ball of fire that I call art and for giving me the tools to understand and cultivate it Willem De Kooning, Arshile Gorky, Osvaldo Licini, Cy Twombly, Alberto Gianquinto for having refined my pictorial taste.

7) What does it mean to be a painter today?

If honest, today's painter is aware that he is leading an exciting life in a frenzied and passionate search for his own pictorial matrix, if instead a scoundrel being a painter is equal to selling and multiplying even by signing the works made by others in the sticky quagmire and desperation typical of those who he knows he's already dead somehow.

8) What has been the greatest recognition for you so far and your aspirations for the future

The approving gaze of Rocco Sambenedetto, artist and confidant and the endorsement of Paolo Bolpagni, Silvia Moretta and Vincenzo Centorame. In the happiest of hypotheses I foresee for the future to tear off my vanity, that rind so frivolous and comfortable that it makes the modern man a ferret to be relegated to the garden.

Gabriele Ferrieri


Mariano Bachetti

Mariano Bachetti
Casalnuovo (NA)

Category: Painters, Sculptors

Works included: 50

Profile views: 1503

Votes Received: 90 Who voted?

Date of birth: 02/02/1976
Residence: Casalnuovo - NA
Phone: 3405185608

Born in Naples on February 2, 1976, since childhood he has shown a strong aptitude for artistic matters. Led by old masters in 1996 he graduated as an art master at the "Filippo Palizzi" institute in Naples, from that moment his artistic commitment continues without interruption until today. Influenced by classical and impressionist painting, he faces and develops his works with various technical and artistic researches, inspired by and analyzing the major figures of artists of all time, from the triad Leonardo - Caravaggio - Michelangelo, passing through Dalм to Vallejo. To acquire more experience and to compare himself with his own abilities, he has performed works of clay works, such as ancient artistic cribs and modern life-size characters, using mainly plasterboard. Thanks to research and experimentation, he has created works with pastels and oils on canvas, including various religious themes, which by observing them touch the depths of the soul, even to the most critical eye.

Comments on the works of Mariano Bachetti:

Nice work, congratulations hello.

comment by Nicola Emiliano on the opera In Cucina - Thursday 04 December 2014 at 21:12

congratulations

comment by Creations A. Cersosimo on the work Surfer - Friday 05 December 2014 at 19:07

probably a nice job, if it was photographed straight.

comment by Mario40 on the opera Cascate - Sunday 14 December 2014 at 2.00 pm

Excellent work, I take this opportunity to wish you a Happy New Year

comment by Inlayer on the work Faraglioni Sunken - Tuesday 30 December 2014 at 16:23

Good job. A tip: do not use the flash on glass.

comment by Damiano Messina on the opera Cascate - Thursday 08 January 2015 at 14:37

Beautiful,
(too bad the distorted photo)

comment by Mario40 on the opera Cascate - Friday 09 January 2015 at 11:26

Hi, I can have the fixed price of your work by e-mail: [email protected]

comment by Contact me by Mail: Xavt on the work In Cucina - (Particolare Sedia) - Monday 17 August 2020 at 17:19

Bonjour puis-je avoir le prix ferme de l'oeuvre par mail: [email protected]

comment by Contact me by mail: Ropo on the work Sunset at the Cliff at Etretat - Monday 12 October 2020 at 22:32
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ART CONTEST "DISTRARTE 24" - Art exhibition installation

Loved
Unlove

The exhibition, staged by MODOM Architecture, this year had as its theme the "24"

24 Like the day that marked this territory forever.
24 like the hours we have to tell the world "I lived another day"
24 stories told between works and images of the earthquake one year after 24 August 2016 like hands that inexorable always return to the origin of their dial.

In the concept there was precisely the idea of ​​recreating a sort of temple of time, a clock, with 12 dials where the viewer was able to enter and had the opportunity to stop, reflect, observe and contemplate the works.
12 the quadrants, 11 the works and each artist was assigned an hour. except for the 3 o'clock dial, indicated as 3.36, the time of the 24 August earthquake.
That place was reserved for the memory and photos of the places so dear to us.

The artists from all over Italy have made a fantastic contribution, and the jurors Dante Fazzini and Carlo Bachetti have not had an easy life in decreeing the candidate who will participate in the 2019 Symposium.

In the end the work chosen was that of Ludovica Lotito.

Patronage: Municipality of Ascoli Piceno | UNICAM - University of Camerino
With the contribution of: Sad_Unicam Atelier_1 student association


Mariano Bachetti

Mariano Bachetti
Casalnuovo (NA)

Category: Painters, Sculptors

Works included: 50

Profile views: 1504

Votes Received: 90 Who voted?

Date of birth: 02/02/1976
Residence: Casalnuovo - NA
Phone: 3405185608

Born in Naples on February 2, 1976, since childhood he has shown a strong aptitude for artistic matters. Led by old masters in 1996 he graduated as an art master at the "Filippo Palizzi" institute in Naples, from that moment his artistic commitment continues without interruption until today. Influenced by classical and impressionist painting, he faces and develops his works with various technical and artistic researches, inspired by and analyzing the major figures of artists of all time, from the triad Leonardo - Caravaggio - Michelangelo, passing through Dalм to Vallejo. To acquire more experience and to compare himself with his own abilities, he has performed works of clay works, such as ancient artistic cribs and modern life-size characters, using mainly plasterboard. Thanks to research and experimentation, he has created works with pastels and oils on canvas, including various religious themes, which by observing them touch the depths of the soul, even to the most critical eye.

Comments on the works of Mariano Bachetti:

Nice work, congratulations hello.

comment by Nicola Emiliano on the opera In Cucina - Thursday 04 December 2014 at 21:12

congratulations

comment by Creations A. Cersosimo on the work Surfer - Friday 05 December 2014 at 19:07

probably a nice job, if it was photographed straight.

comment by Mario40 on the opera Cascate - Sunday 14 December 2014 at 2.00 pm

Excellent work, I take this opportunity to wish you a Happy New Year

comment by Inlayer on the work Faraglioni Sunken - Tuesday 30 December 2014 at 16:23

Good job. A tip: do not use the flash on glass.

comment by Damiano Messina on the opera Cascate - Thursday 08 January 2015 at 14:37

Beautiful,
(too bad the distorted photo)

comment by Mario40 on the opera Cascate - Friday 09 January 2015 at 11:26

Hi, I can have the fixed price of your work by e-mail: [email protected]

comment by Contact me by Mail: Xavt on the work In Cucina - (Particolare Sedia) - Monday 17 August 2020 at 17:19

Bonjour puis-je avoir le prix ferme de l'oeuvre par mail: [email protected]

comment by Contact me by mail: Ropo on the work Sunset at the Cliff at Etretat - Monday 12 October 2020 at 22:32
View
Categories

TRANSLATE

Subscribe to the newsletter

Promote IoArte

Reserved area

  • hug
  • abstract
  • water
  • watercolor
  • watercolors
  • watercolor
  • acrylics
  • acrylic
  • rent rooms
  • fresco
  • Africa
  • alangrime
  • Sunrise
  • hotel
  • trees
  • tree
  • alchemy
  • alessandro ferrara
  • wings
  • aluminum
  • altamira
  • amoc
  • love
  • Andrew
  • andrea benetti
  • ring
  • angel
  • angels
  • angel
  • soul
  • animal
  • animals
  • souls
  • anna
  • ancient
  • antonio
  • anthropological
  • appa
  • orange
  • architecture
  • silver
  • pure silver
  • clay
  • furniture
  • furniture
  • Home furnishing
  • art
  • art
  • abstract art
  • contemporary art
  • digital art
  • modern Art
  • Holy art
  • contemporary art
  • arterrone
  • figurative arts
  • craftsmanship
  • artist
  • artists
  • artistic
  • abstract
  • abstractionism
  • abstract
  • waiting
  • audrey
  • audrey hepburn
  • self portrait
  • Autumn
  • light blue
  • b & b
  • b & w
  • kiss
  • dancer
  • dance
  • child
  • children
  • child
  • boat
  • boats
  • barrafranca
  • bas-relief
  • beauty
  • darling
  • White
  • black and white
  • White black
  • bijoux
  • little girl
  • baby
  • biomechanic
  • black
  • blue
  • blues
  • mouth
  • bologna
  • village
  • wad
  • bag
  • forest
  • brigu'slab
  • bronze
  • dark
  • bust
  • coffee
  • Calabria
  • calle
  • callegarini
  • calт
  • cammarata
  • countryside
  • fields
  • field
  • channel
  • dog
  • dogs
  • canvas
  • hair
  • hat
  • caravaggio
  • charcoal
  • carob
  • paper
  • cardboard
  • home
  • houses
  • caisson
  • castle
  • horses
  • horse
  • ceramic
  • circle
  • cetraro
  • chiappara
  • church
  • china
  • guitar
  • sky
  • swan
  • China
  • cinema
  • pendant
  • city
  • city
  • clarae
  • claus costs
  • collage
  • mental collage
  • collages
  • necklace
  • hills
  • dove
  • color
  • colors
  • colors
  • composition
  • commun
  • conceptual
  • shells
  • conestabo
  • Contemporary
  • contemporary
  • contemporary
  • copy
  • copyright copy
  • couple
  • frame
  • body
  • corrado roccaro
  • cosenza
  • cosmos
  • creation
  • Crete
  • Christ
  • cross
  • culture
  • cumia
  • heart
  • curved oronzo
  • danila milloni
  • dance
  • dark
  • goddess
  • decoration
  • desert
  • design
  • development
  • devil
  • by girolamo mauro sg
  • diego
  • diegokoi
  • digiart
  • digital art
  • digital
  • paintings
  • painting
  • direct
  • drawings
  • drawing
  • ache
  • dolphina
  • woman
  • women
  • drawing
  • dreams
  • dripping
  • economic
  • eliana
  • eliana calт
  • emotion
  • emotions
  • power
  • enrico barbieri
  • enrico merli
  • Eros
  • erotic
  • eroticism
  • existentialist
  • expressions
  • expressionism
  • expressionist
  • express or pavoneg
  • summer
  • ethnic
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  • 1 Biography
  • 2 Exhibitions e Salons
  • 3 Public collections
    • 3.1 Sculptures
    • 3.2 Paintings
  • 4 Iconography
  • 5 Freebies
  • 6 Notes
  • 7 Bibliography
  • 8 Related items
  • 9 Other projects
  • 10 External links

1836: Adélaïde Nathalie Marie Hedwige Philippine d'Affry was born on 6 July in Freiburg, eldest daughter of Count Louis d'Affry (1810-1841) and Lucie de Maillardoz (1816-1897). The maternal grandfather is the Marquis Philippe de Maillardoz. The military career is the area in which the male members of the d'Affry family traditionally stand out. Louis d'Affry (1743-1810), Adèle's great-grandfather, was the first Landaman of Switzerland.

1839: His younger sister, Cécile Marie Philippine Caroline (1839-1911), is born.

1841: The father dies on June 26th. Adèle and her sister Cécile grow up with their mother. Their life is divided between Freiburg and Givisiez in the summer months, between Nice and Italy during the winter.

1853-54: Adèle d'Affry receives the classical education of girls of good family and follows, among others, the drawing and watercolor lessons of the painter Joseph Auguste Dietrich (1821-1863). In these years he attended a modeling course for the first time in the Roman atelier of the Swiss sculptor Heinrich Max Imhof (1795-1869).

1856: On April 5, in Rome, Adèle marries Carlo Colonna (1825-1856). The following month her husband was awarded the title of Duke of Castiglione Altibrandi. However, the union was short-lived: on 18 December, in Paris, Carlo Colonna suddenly died of typhoid fever.

1857: Adèle is forced to return to Rome to resolve the inheritance disputes that oppose her to the Colonna family. The Duchess finds hospitality in the convent of the Dame del Sacro Cuore in Trinità dei Monti. In this period his artistic vocation begins to manifest itself. He resumes his lessons in the Imhof atelier, visits numerous churches, admires the works of classical antiquity and in autumn he models the bust of his deceased husband. A self-portrait soon follows this first sculpture.

1859: Adèle moves to Paris and rents an apartment with Léon Riesener (1808-1878), cousin of Eugène Delacroix, at 1 rue Bayard. Pierre Andrieu (1821-1892), friend of the Riesener family and assistant to Delacroix, helps her to paint the dining room and the laboratory. The Duchess begins to frequent the high society of the Second Empire. He accompanies his sister Cécile until the latter's marriage, celebrated on October 29, with Baron Moritz von Ottenfels-Gschwind (1820-1907), an Austrian diplomat. Adèle's rank led her to frequent the legitimist salons of the faubourg Saint-Germain and her taste to prefer that of the Countess de Circourt. The beautiful Duchess forges bonds of friendship that will last over the years, including that with Adolphe Thiers (1797-1877). Father Gratry (1805-1872) becomes his spiritual guide.

1860: Adèle works on his first composition, The beautiful Elena. At the Muséum national d'histoire naturelle he studied animals and their representation with the sculptor Antoine-Louis Barye (1795-1875): he practiced with passion from life and in copying classical works, without neglecting the more technical and tiring aspects of sculpture . The impetuous Jean-Baptiste Auguste Clésinger (1814-1883) closely follows his progress. In December, he begins to discreetly attend Professor Sappey's anatomy classes in the basement of the practical school of medicine. On Thursday 6 September, during a dinner with the Barbiers, Adèle meets Eugène Delacroix (1798-1863). The first symptoms of phthisis appear in her, the disease that will lead to her death.

1861: Your application for admission to the École des Beaux-Arts is rejected. Back in Rome, Adèle visits Villa Medici, where she has the opportunity to admire the sculptural group of Ugolino and his sons, on which the young Jean-Baptiste Carpeaux (1827-1875) is working. The friendship between the two artists will be interrupted only at the death of the sculptor.

1863: After much hesitation, Adèle decides to exhibit at the Paris Salon under the pseudonym of Marcello. It features three busts: White Hat, the Portrait of Count G. de N ... [icolaÿ] is the Portrait of the Duchess of San C ... [exario], a work in wax. The great success of his Bianca arouses the attention of Empress Eugenia, who invites her to participate in one of the famous Tuileries Mondays. Adèle was admitted to court and attended Napoleon III (1808-1873), for whom she has great admiration.

1864: In February Marcello hosts Jean-Baptiste Carpeaux in Givisiez, but rejects the marriage proposal presented by the sculptor's mother. To the artistic concerns are added those related to the rank of duchess and the duties of representation. He receives an invitation to the "Compiègne series". Andrieu takes part in the auction following Delacroix's death in her name and buys three sketches for her.

1865: Marcello exhibits at Salon the marble bust of the Gorgon. On 2 August he received the official commission for a portrait of Empress Eugenie, a work intended to decorate the throne room of the Hôtel de Ville in Paris. Marcello will produce four different versions of this bust.

1866: In the months of June and July Adèle is in London, to personally verify the welcome given to the bronze bust of the Gorgon, exhibited at the Royal Academy. The admiration for Queen Marie Antoinette, which she shares with the Empress Eugenia, leads her to make the busts of Marie Antoinette in Versailles and of Marie Antoinette in the Temple, which presents al Salon of Paris in May. In November, the bust of the empress is harshly criticized and rejected by the Fine Arts Commission of the City of Paris. Adèle is indignant. She fears she has fallen from grace in Eugenia's eyes. The matter will have a happy ending - Prefect Haussmann will in fact decide to accept the bust - but he throws it into a state of prostration.

1867: At the Universal Exposition, in the hall of the Papal States, Marcellus exhibits eight of the works commissioned by Emperor Napoleon III for the gardens of Compiègne: among them is theHecate. In the months of May and June he visits Austria, Germany and Hungary in the company of his mother. In Budapest the two women attend the coronation of Empress Elisabeth (1837-1898) of which, on her return to Paris, Marcello will make a small marble bust.

1868: Between March and August the Duchess visits northern Italy and stops in Rome. During a treatment stay in Cauterets, in the Pyrenees, she crosses the border and travels to Spain, where she finds herself involved in an insurrection in spite of herself. Although the situation is rather dangerous, he decides to stay in Madrid, where he works alongside his friends, the painters Henri Regnault (1843-1871) and Georges Clairin (1843-1919). In the Spanish capital he met the revolutionary general Milans del Bosch and modeled a bust of him. Prosper Mérimée's letters of recommendation (1803-1870) opened the doors of the Prado to her, where she particularly admired the works of Velázquez.

1869: Back in Rome, Marcello sends the bust of the Tired Bacchante, intended for Salon. In the atelier of «Pope Julius» he realizes The Pythia, his masterpiece, which Charles Garnier (1825-1898) bought to embellish the new one Opera. Given that he had to face many technical difficulties for the realization of the statue, he thinks of abandoning sculpture - an activity that requires a lot of commitment from the material point of view - to devote himself to painting. He studied drawing at Villa Medici with Ernest Hébert (1817-1908) and shared a passion for music with composers Charles Gounod (1818-1893) and Franz Liszt (1811-1886). He also practices painting in the atelier of the artist Mariano Fortuny i Marsal (1838-1874), where he meets Eduardo Rosales (1836-1873).

1870-71: At the 1870 Salon Marcello presents The Pythia in bronze and the bust of Abyssinian chief. He took refuge in Switzerland during the war and the Commune. Weakened by the illness and strain that her activity as a sculptor causes, she works in the Geneva studio of the painter Alfred van Muyden.

1872: Back in Paris, Adèle continues her painting studies with Léon Bonnat.

1873Deeply disturbed by the death of Napoleon III, the Duchess travels to Chislehurst, England, to offer condolences to Empress Eugenie and the imperial prince. Marcello intends to make his debut at the Salon as a painter, presenting the Portrait of Madame de Tallenay, but in the end he changes his mind. The five busts presented at the Universal Exhibition in Vienna - the Abyssinian chief, White Hat, the two versions of Maria Antonietta is the Pythia - are worth the award of a medal.

1874: Send to Salon a large painting, The Conspiracy of Fiesco. The refusal of the work opposted by the jury deeply wounds her.

1875: The Duchess paints the portrait of Berthe Morisot, but refuses to be portrayed in turn by Manet. Posa invece per l'amico pittore Édouard Blanchard (1844-1879). Al Salon presenta Redemptor mundi, Febe e La bella romana. All'inaugurazione dell’Opéra, il 5 gennaio, il pubblico e la critica accolgono con grande favore La Pizia sorpresa, Marcello se ne rallegra.

1876: Da Friburgo, dove risiede da gennaio, Marcello parte per un nuovo viaggio in Italia, con tappe a Firenze, Orvieto, Roma, Bologna, Ferrara, Ravenna, Padova, Venezia, Verona e Milano. Il direttore della Galleria degli Uffizi le commissiona il suo ritratto. Il busto de La baronessa di Keffenbrinck, presentato al Salon nello stesso anno, le vale una semplice menzione d'onore che Marcello riceve con amarezza.

1877: Spossata dalla tosse e dai dolori articolari, Adèle cerca sollievo nel sole del Midi su consiglio dei medici, trascorre il mese di dicembre in Italia.

1878: La duchessa si sposta di frequente tra Napoli, la Svizzera e Parigi, alla ricerca del clima ideale per calmare le continue emottisi. Il 2 gennaio redige una seconda versione del testamento in cui elenca le sculture che lascerà in eredità allo Stato di Friburgo, a condizione che sia fondato un museo dedicato alla sua opera.

1879: Si stabilisce a Castellammare di Stabia: oltre a disegnare freneticamente, Adèle riordina le sue carte e attende alla redazione delle Mémoires, che rimarranno incompiute. Muore, stroncata dalla tubercolosi, il 16 luglio. [2]

  • 1863: Salon (1º maggio-1º luglio), Parigi, Palais des Champs-Elysées.
  • 1864: Esposizione di Parigi, boulevard des Italiens.
  • 1865: The Royal Academy Exhibition (giugno-luglio), Londra Salon(1º maggio-20 giugno), Parigi, Palais des Champs-Elysées.
  • 1866: Salon (1º maggio), Parigi, Palais des Champs-Elysées Esposizione di Belle Arti, Lille The Royal Academy Exhibition, Londra
  • 1867: Esposizione del Cercle de l'Union artistique (marzo), Parigi The Royal Academy Exhibition, Londra Esposizione universale (15 aprile-15 settembre), Parigi, Palais du Champ de Mars.
  • 1869: Salon (1º maggio), Parigi Exposition internationale des Beaux-arts (20 luglio-31 ottobre), Monaco di Baviera.
  • 1870: Salon (1º maggio), Parigi, Palais des Champs-Elysées.
  • 1873: Esposizione presso Durand-Ruel (1º marzo), Parigi Esposizione universale, Vienna.
  • 1874: Salon, Parigi.
  • 1875: Salon, Parigi, Palais des Champs-Elysées.
  • 1876: Salon, Parigi, Palais des Champs-Elysées.
  • 1877: Esposizione al Cercle artistique, Nice, Palais Christine.

Sculture Modifica

  • Ecate e Cerbero, circa 1866, gruppo scultoreo in marmo comandato da Napoleone III e destinato in origine all'entrata della Foresta di Fontainebleu. Nel 1867 l'opera fu inviata all'Esposizione universale. La scultura, inizialmente collocata nei giardini del Palazzo di Compiègne, nel 1889 viene destinata dallo Stato al comune di Montpellier. Nel 1956 viene spostata in place Renaudel e infine, nel 1986, è disposta nel parco Grammont. [3]
  • Pizia, 1870, bronzo sotto la grande scalinata dell'Opera Garnier di Parigi.
  • Élisabeth de Wittelsbach detta Sissi imperatrice d'Austria, 1867, marmo, Museo di arte e storia Friburgo
  • Bianca Capello, 1863, marmo, Museo di arte e storia Friburgo
  • Gorgone, 1865, marmo, Museo di arte e storia Friburgo
  • La Baccante stanca, 1868, marmo, Museo di arte e storia Friburgo
  • Capo abissino, 1869/posthume, marmo, Museo di arte e storia Friburgo
  • Maria-Antonietta al Tempio, 1886/dopo 1879, marmo, Museo di arte e storia Friburgo
  • Maria-Antonietta delfina, 1886/dopo 1879, marmo, Museo di arte e storia Friburgo
  • Bella romana, 1875, marmo, Museo di arte e storia Friburgo
  • Ananké, 1867, marmo, Museo di arte e storia Friburgo
  • La Pizia, circa 1880, riduzione in bronzo, Museo di arte e storia Friburgo
  • La Baronessa di Keffenbrinck-Ascheraden, 1875, marmo, Museo di arte e storia Friburgo
  • Élisabeth de Wittelsbach detta Sissi, imperatrice d'Austria, 1867, marmo, Museo di arte e storia Friburgo
  • Bianca Capello, busto in marmo, Château de Fontainebleau
  • Donna trasteverina detta anche Bella romana, busto in marmo, Musée d'Arras
  • Imperatrice Eugénie, busto in marmo, Musée des beaux-arts, Lione

Dipinti Modifica

  • Ritratto di Berthe Morisot, 1875, Museo di arte e storia Friburgo
  • Ritratto della marchesa de Tallenay, 1873, Museo di arte e storia Friburgo
  • Capo indiano, Museo di arte e storia Friburgo
  • Pescivendola a Napoli, Museo di arte e storia Friburgo
  • Georges Clairin, Marcello nel suo atelier, 1871, olio su tela, Museo di arte e storia Friburgo
  • Edouard-Théophile Blanchard, Ritratto della duchessa Castiglione Colonna, 1877, olio su tela, Museo di arte e storia Friburgo
  • Gustave Courbet, La duchessa Castiglione Colonna, olio su tela, Museo di Belle Arti, Reims
  • Jean-Baptiste Clésinger, La duchessa Castiglione Colonna, 1861, marmo, Fondazione Marcello, Givisiez
  • Marcellin Desboutins, Ritratto di Marcello, 1874, incisione, Museo di arte e storia Friburgo

Nel 1963 è fondata a Friburgo la Fondazione Marcello, il cui scopo è la conservazione e la promozione della memoria e delle opere di Marcello.


Le opere dell’artista Mariano Chelo dal Temo all’Hudson

BOSA. Dalle rive del Temo a quelle dell’Hudson, da Bosa a New York, il passo non è certamente breve. Ma per l’artista bosano Mariano Chelo certamente un’occasione per far conoscere i suoi dipinti.

BOSA. Dalle rive del Temo a quelle dell’Hudson, da Bosa a New York, il passo non è certamente breve. Ma per l’artista bosano Mariano Chelo certamente un’occasione per far conoscere i suoi dipinti, apprezzati nella vecchia Europa, anche oltre Oceano. Grazie alla gallerista Carla Piscitelli della Ierimonti Gallery di New York, convinta dalla visione dei “Mari” dipinti dall’artista bosano, descritti come. «Una ricerca molto originale adatta al pubblico della Grande Mela sempre alla ricerca di novità». Il vernissage di inaugurazione si è tenuto il 18 gennaio scorso, alla presenza dell’artista e di un folto stuolo di visitatori che hanno apprezzato i quadri in arrivo dalla Sardegna. La mostra prosegue fino al 17 febbraio, anche se non è escluso che qualche lavoro possa rimanere negli State «una volta presentato ad una nota casa d’aste, per testare l’effettivo valore sul mercato americano», rivela Mariano Chelo. «I lavori che presento sono il risultato della mia ultima produzione. Un lavoro parallelo a diversi argomenti, forse perché sono curioso o forse per non annoiarmi, come se scrivessi dei racconti, passando apparentemente da un estremo all’altro anche se in realtà uno è la conseguenza dell’altro», dice l’artista. Convinto che «quando si fa ricerca, anche in pittura, si scoprono o si inventano delle cose inattese, cose che possono sorprendere o deludere e comunque sempre stimolanti e vive». Ma nel laboratorio del Map a Bosa o nell’atelier di Cagliari Mariano Chelo non ha solo tavolozze e pennelli. «Da un paio d’anni ho iniziato a teorizzare il confine tra pittura e scultura. A parte la tridimensionalità, la differenza tra i due linguaggi è caratterizzata dalla luce: nella scultura le parti in luce e in ombra vengono dalla spazialità della forma, mentre nella pittura vengono rappresentate con l’uso del colore e quindi con un artificio, forse è proprio per questo che si chiama arte.” I Mari quindi nascono dal «fare scultura con la pittura, cioè utilizzare una superficie piana giocando con il lucido e l’opaco, rubando la luce all’ambiente ed imitando quello che avviene nel vero».


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