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Quarrel

Explore astolfo maria cicerano's innovative art, blending experimental techniques & diverse styles. Discover his evolving artistic journey from Terracina.

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Mario de Maria, the father of Astolfo and artist, known by his pseudonym of Marius Pictor, commenting on the Portrait of Vittore Grubicy (1921-22, formerly in the Toscanini collection) exhibited at the Biennale of Venice in 1922, synthesises in such an illuminating way the modern and visionary painting of his son, who would reach even more extreme outcomes in the Quarrel: “It brings to mind Michelangelo and Albrecht Dürer […]. In addition to the vitality, there remains, to see and remember, even the sense of good and evil, the good, but more than anything the sense of the diabolical, as in Michelangelo’s Moses, as in the apostles of Dürer, as in the Santoni dei Frari in Venice by Giovanni Bellini. The tumultuous life that is painted in this canvas by Astolfo, promises a […] genial future!” Contrary to the wishes of Mario de Maria, the pictorial production of Astolfo did not easily obtain the favour of the critics, only capturing their attention from the Thirties and dominating the Venetian artistic scene only during the next decade. Confirming this controversial relationship with the official artistic world were the events surrounding the exhibition of Quarrel, sent to the Venice Biennale in 1926, it was rejected and, therefore, presented in the XVII Esposizione dell’Opera Bevilacqua La Masa, held at the Lido of Venice in October of the same year. The first idea of the subject is traceable some sketches, from the De Maria collection, in which some characters argue animatedly, chasing each other along a bridge, near the Canale della Giudecca. It is a moment of common life, almost a genre scene, drawn with a dry and incisive line that makes one think of a study from life, but at the same time, it recalls the corrosive irony of Baruffe chizzotte by Carlo Goldoni. Forsaking all narrative intent, the definitive version of the work, charged with a caustic and biting spirit, shows close similarities with the coeval research of the Neue Sachlichkeit. His European travels since adolescence, the international frequentations at the house of his father and the German origin of his mother, Emilie Voigt, had to have made a critical contribution to orient the artistic choices of the painter toward a Nordic culture that had found in Venice, in those years, full acceptance. Figures distorted by anger, the sneering, jeering faces of the Quarrel recall the characters of Otto Dix, George Grosz and Georg Scholz, even in the unforgiving realism with which the painter brings out every detail of the scene. The exasperated gestures of the women and the faces deformed by rage can also be found in the works of early Twenties of Bortolo Sacchi and Cagnaccio di San Pietro, also very attentive to the most innovative instances of German culture and the great tradition of northern painting. The Quarrel, dense of citations from the frescoes executed by the painter in collaboration with Guido Cadorin and Bortolo Sacchis for church of Colle San Martino (1921) and that of Moriago della Battaglia (1925), proposes a synthesis of the artistic research of the time and at the same time the leads to the extreme in a very agitated scene, built on dynamic diagonal rhythms, in a play of parallels and divergences, that unfolds against the backdrop of the lagoon burning by the light of the sunset.

Kunstniku biograafia

A Rising Star from Terracina: The Experimental Vision of Astolfo Maria Cicerano

Born in the coastal Italian town of Terracina in 1986, Astolfo Maria Cicerano is a contemporary artist rapidly gaining recognition for his innovative approach to materials and techniques. Unlike artists confined by a single medium or style, Cicerano embraces multidirectionality, constantly branching out into new forms of expression. His work isn’t easily categorized; it's an ongoing exploration—a reaction process fueled by experimentation and a deep curiosity about the possibilities inherent in diverse artistic practices. This refusal to be pigeonholed is central to understanding his evolving artistic journey. Cicerano doesn’t simply *create* art, he investigates its very nature, pushing boundaries and challenging conventional perceptions of what constitutes an artwork.

Early Influences and Artistic Development

While details regarding Cicerano's formal training remain somewhat elusive—a characteristic perhaps reflective of his independent spirit—his artistic lineage is subtly present in the echoes of past masters. His father, Mario de Maria (known as Marius Pictor), was also an artist, and though their relationship with the established art world differed significantly, a sense of familial artistic dialogue undoubtedly shaped Cicerano’s early development. The influence of Michelangelo and Albrecht Dürer has been noted in connection to his work, particularly in the dramatic intensity and expressive line quality found in pieces like “Quarrel.” However, Cicerano doesn't merely replicate these influences; he filters them through a distinctly modern sensibility, infused with irony and a keen awareness of contemporary life. His early sketches reveal a fascination with everyday scenes—moments of animated conversation or bustling activity—which he then transforms into complex compositions that transcend simple representation.

The “Quarrel” and the Exploration of Human Interaction

Perhaps Cicerano’s most discussed work to date is "Quarrel," a painting that encapsulates many of his core artistic concerns. Initially conceived as sketches depicting lively arguments unfolding near the Canale della Giudecca in Venice, the final piece evolved into something far more profound. The artwork was submitted to the 1926 Venice Biennale but was ultimately rejected—a testament to its unconventional nature and a reflection of the artist’s sometimes-contentious relationship with the official art establishment. Presented instead at the Esposizione dell’Opera Bevilacqua La Masa, “Quarrel” garnered attention for its raw energy and incisive depiction of human interaction. The painting isn't simply a portrayal of conflict; it’s an exploration of the underlying tensions and complexities inherent in social dynamics. Cicerano masterfully employs a dry, almost calligraphic line to capture the emotional intensity of the scene, recalling both the immediacy of life studies and the satirical wit of Carlo Goldoni’s *Baruffe chizzotte*.

A Multidirectional Style: Technique as Investigation

Cicerano's stylistic versatility is a defining characteristic of his oeuvre. He doesn’t adhere to a single technique or aesthetic; instead, he embraces experimentation, allowing the materials themselves to dictate the direction of his work. This approach often leads to unexpected results and challenges traditional notions of artistic control. His process isn’t about imposing a preconceived vision onto the canvas but rather about discovering what emerges through interaction—a dialogue between artist, material, and chance. This constant exploration is evident in the diverse range of works he produces, each piece representing a unique investigation into form, texture, and meaning. He isn’t afraid to incorporate unconventional materials or techniques, pushing the boundaries of what is considered “acceptable” within the art world. His work feels less like finished products and more like ongoing experiments—snapshots from a restless artistic mind.

Historical Significance and Future Trajectory

While still an emerging artist, Astolfo Maria Cicerano’s impact on the contemporary art scene is already palpable. His willingness to challenge conventions and embrace experimentation has resonated with a new generation of artists and collectors. He represents a shift away from rigid categorization and towards a more fluid, interdisciplinary approach to artistic creation.
  • His work encourages viewers to question their own assumptions about art.
  • He embodies the spirit of innovation and exploration.
  • Cicerano’s refusal to be defined by a single style sets him apart from his contemporaries.
As he continues to evolve, it is clear that Astolfo Maria Cicerano will remain a significant force in the art world—a visionary artist whose work promises to inspire and provoke for years to come. His journey, rooted in experimentation and fueled by an insatiable curiosity, is one worth watching closely.
astolfo maria cicerano

astolfo maria cicerano

1986 - , Italy

Lühikesed faktid

  • Artistic Movement Or Style: Experimental art
  • Date Of Birth: 1986
  • Full Name: Astolfo Maria Cicerano
  • Nationality: Italian
  • Notable Artworks: ['Quarrel']
  • Place Of Birth: Terracina, Italy