Feminine art. Since the Renaissance to the Twentieth century the contribution of
feminine art has been great, although basically in the shadows. Nevertheless between
the Sixteenth and the Twentieth century, many women have produced such
masterpieces worthy of the greatest names of the Western art movements. Tis
exhibition aims to pay tribute to those female artists who have kept painting over the
centuries showing their sensibility and talent, while often remaining far from official
academies. “Te F factor. Femininity, frailty, force” kicks off Wednesday May 23, 2018
at the Maroncelli 12 gallery. Tis is a group exhibit collecting the work of five female
artists: Marie-Claire Guyot, Cristina Martella, Nabila, Franca Settembrini, Annamaria
Tosini. A dialogue between different styles arising from the creativity of different artists
by age, social status, nationality.
Female art therefore. A parity reached? Does a woman have to be naked to enter a
museum? – in the late 1980s the Guerrilla girls denounced in New York. Even today
the market does not do justice to the “other half of the avant-garde”. Despite the hot
protest moment for gender inequality, this is not a show against, but an exhibition for.
To give visibility to women’s path, intensely lived and expressed here from an artistic
point of view. Because if it is true that art has no gender, it is neither masculine nor
feminine, it is equally true that the woman’s universe seems to have the capacity to
“decline” the artistic experience according to one’s own modalities and inspirations:
attentive to the interior and daily dimension, to the intimacy of the poetic expression,
to the claim of an entity able to manifest itself in full autonomy. An artistic experience
that passes through the ability to explore one’s own soul to discover its fragility, its dark
sides and transform it through the cathartic power of art into strong, wise creations.
Without fear anymore.
Marie-Claire Guyot (Paris 1937-Milan 1991) began painting in 1961 when, just
married, she moved to Italy to follow her husband first in Venice, then Turin and
finally in Milan. Hers is a search for lost roots that results in an obsessive introspection
even on the canvas. She is always the subject of her works, an imaginary universe where
childhood, motherhood and religion transfigure on the paintings.
Cristina Martella was born in Atri, in the province of Teramo, where she lives and
works. As a child she is attracted to painting but her parents do not encourage her in
her passion. And she, to comply with them, graduated in Economics in Pescara. After
university and a short trip to London, she takes courage and her life in her hands and
devotes herself exclusively to painting, moving from the figurative to a mature and
personal sign, the fruit of a fantasy and a living imagination. Her works are explosion
of nature, flowers, flyng insects, as fantastic as they are real: “I paint what I see”.
Te Egyptian Nabila (Cairo 1945) began painting in 1997 in the atelier conducted by
the artist Silvana Crescini inside the Judicial Psychiatric Hospital of Castiglione delle
Stiviere (Mantua) where she was hospitalized for a year. In her paintings she reproduces
the images she “sees” in the coffee grounds: a multitude of figures interlocked. Later
she depicted her visions through the colored spot, previously produced on the canvas.
A world full of female children, young girls of light music, women with thick hair,
piercing eyes, hands with long and sharp fingers. Franca Settembrini (Florence
1947-2003) paints her feminine universe with gaudy colours. Hospitalized in the
Psychiatric Hospital of Florence at the age of 11, in 1976 she discovered painting in
the historical atelier La Tinaia. From 1991 to 1995 she continued to paint in the J.P.H
of Castiglione delle Stiviere where she was transferred following a small theft. Great
protagonist of Art Brut, Settembrini is present in various European public collections
including the Museum of Lausanne.
Fragile sculptures of recycled paper often accompanied by poetic texts and memories:
to realize them in the last 15 years of her life is Annamaria Tosini (Palermo
1930-2013), a woman with a brilliant past and creator of gardens (famous that in the
family villa of Casteldaccia) forced for a reversal of fortune to live exiled in a healthcare
structure. Refined works in which the artist gives body to her memories and to the
images aroused by listening to music, looking for a way of salvation in her art from her
difficult situation. Gardens of the mind and floral fantasies of intimacy, often
accompanied by texts that enrich the narration.