BACK HOMEPAGE ARCHITECTURE PAINTING FOUNDATION

B.2.1.3

  Information on the exhibition (2/4)
 


A POETRY
FOR THE CITY



Vittorio Mazzucconi has worked in different cities and nations, leaving in many of them a prominent sign of his passing: to name a few, the famous building of the Avenue Matignon and the "Citadelle" of Parigi, the"New Agora" and the "Polis Centre"of Athens, "The Dawning City"project for the new centre in Florence, and many other projects presented in the Exhibition.


The presentation of these works, that date back to different periods, is divided in separate areas (or in the corresponding chapters of the catalogue) under the subtitles: MEDIOLANUM LUTETIA FLORENTIA ATHENA

These are the Roman names of the major cities in which Mazzucconi has operated, to signify that his stays in these cities were not merely as a professional need for his activity, so much as a spiritual participation whose intensity went beyond the contingent aspect of the city or, for that matter, of his artistic experience. Apart from these names, which are aspects and legs of the same evolution, one must add the first period (the period of study and travel) shown in the Exhibition.


Periods and places 1947-1961 YEARS OF STUDY AND TRAVEL Studies and projects in Milan
Paris, London...
  1962-1971 MEDIOLANUM Projects for Milan and Lumbardy
  1972-1987 LUTETIA Projects for Paris and France
  1970-1985 FLORENTIA "The Dawning City" per project for the new centre of Florence
  1983-1996 ATHENA Projects for Athens
     


Painting






The Golden Fleece
1978, 100 x 100, Oil on Canvas
  Finally, another sector of primary importance is that regarding painting; that is in constant contact with the external world and yet that succumbs before all other forms of expression. Just like Mazzucconi's projects pay no heed to the political circumstances of the reality to which they are destined, so his pictorial works are free of the market's impositions, the tendencies, the language, aiming purely at the soul: a painting capable of becoming evidence and registration of the authentic way, similarly to architecture but in a more quenched and proximate manifestation of the inner life.

The paintings were once a major chapter of the first edition of the itinerant exhibition of Florence, Paris and Athens. Yet they were later separated from architecture, for space reasons and for reasons of homogeneity of the themes covered. They are now part of separate Exhibitions inside of the Foundation:


ART AS AN INNER QUEST