Massaria Luigina

Massaria Luigina

Biography of Luigina Massaria

I was born in Ancona where I now live, but my atelier is based in Rosora, via Pratelli 27.  I graduated in Philosophy at the faculty of History and Philosophy in Urbino, and then qualified for teaching Arts and Literature at a Junior High School in Brescia, where I worked for 13 years. I then decided to move back to the province of Ancona, where I was appointed as a headmaster after my long teaching career.  I have also specialized in Montessori's Differentiated Instruction Strategies in Chiaravalle.
I have always practiced painting, and over the years I developed the idea that the iconic language can actually convey stronger emotions and deeper messages than verbal language, as the latter might be biased by misunderstandings, fear, and reticence. In my opinion, pictorial representations can even transcend reality, and become a philosophical concept. In Kafka's The Metamorphosis, the main character adapts to his new condition because he feels different and isolated from a society stifling individual free expression. Similarly, I believe the artist is free when portraying a reality that transcends itself. My painting (oil on canvas) "Verso il mondo delle idee" (Towards a World of Ideas) represents the pursuit of a universal, shared existence, and was appreciated by the Pompeii "A-Zeta" artist group.
Plaque awarded with honorable mention at 'Natale d'Oro", Milan, 1975; District Cup at the City of Cremona Awards.

I took part to the following art competitions:
1st National Exhibition of Representational Art, A.A.B. Art Gallery, Brescia, 1978; 2nd Lombard Painting Exhibition, Esine, 1981; "Mostre d'Arte" Exhibition, Montemarciano, summer 1986; Female Collective Exhibition, Castle of Falconara Alta, 1994; TransArt "L'Anima Artistica" Exhibition, 2nd & 3rd editions, Osimo, 1993 and 1994; 44th Painting Show "G.B. Salvi", Sassoferrato, 1994; RomArt International Biennal of Art and Culture, Rome, May 15-18, 2015. ART-Taormina Mazzullo International Award, from June 26 to July 6, 2015.

Solo and collective exhibitions:
Ponte di Legno, "ABBA" Art Gallery, Brescia; "La gritta di Mantova", Market Show, Bordighera; "S. Ambroeus" Art Gallery, Milan; "Casabella" Art Gallery, S. Margherita Ligure; "S. Luca" Art Gallery, Latina.

Publications:
Italia Artistica, Panorama d’Arte, Individualità in Arte, Bolaffiarte, Arterama, Brescia Oggi, Corriere Adriatico.

Critical review of Elio Marcianò
To Luigina Massaria, an existential evidence may have the most oddly assorted characters in the metaphysics of her building up a fortress of present and future times. Her agglomerates of humanity and concrete are characterized by the dazzling shades of red of the unvarying blocks of flats and by the fearful faces of the main characters of the drama. Mankind is forced to lose their taste for green nature and cling to urban blocks. Everything is at risk, but they can fight to reach an illusion that lays in the possibility to find themselves in the eyes of those bonded to them because of the very same hope. That is why she makes main characters live in groups. The result is an atmosphere of suspension, a sense of dramatic reality, where the troubles of contemporary life and the substantial expression of the crisis of our time are to be found through the use of a cautionary art.

Critical review of Luciano Spiazzi
A dramatic tension is widespread in Luigina Massaria's world. The blurred faces, the deliberately harsh tones, the absence of sky, of a tranquil shelter. People resemble mannequins, but feeling a strong awareness of their own mechanicalism. Her painting technique drifts towards expressionism and denotes a rejection of what is easy and idyllic, as well as a rejection of the artwork conceived as an escape from what overwhelms you in the monotonous, trivial or gloomy rhythm of everyday life.

Critical review of Giocondo Ronconi
Creatures born in the sunlight, yet left alone, with their heads bowed, who got lost thinking of a future that found them older and living in a space deprived of that primitive sunniness that has almost become hatred and grudge; they are to defend themselves from an almost inhuman architecture. Neither the couple, nor the group can save them; they can only be united in a choral and tragic ending.

Recensione critica su L'Azione Cultura del 6 maggio 1995
A quasi-primitive painting technique in its minimalism of representation, where bright tones and monochrome-filled backgrounds diffuse a deep tension and originate feelings, passion, sadness and anguish.

Critical review of Noemi Gambini su Materia Intelligente
This artist's shapes are full of dramatic tension which is barely held back by the line that clearly and concisely surrounds them. Figures seem to have been carved or engraved in colors and on canvas with an echo vaguely close to the turn-of-the-century avant-garde movements. The artist's poetics is based on the pursuit of a faceless inner self that each and every time takes the shape of either our dreams or nightmares, in an interpenetration of bodies apparently repelling one another.

Recensione critica del prof. Laura Carrera
Luigina Massaria's painting technique - despite its bright tones, contrasting and bold colors, and monochrome red, yellow and orange backgrounds - reveals an interiority softening the tension diffused by chromaticity. Figures live in landscapes shaped by minimalistic, Cubist-like buildings and dominate a natural world ruled by loneliness. Her works liven up with a humanity that falls prey of passions and feelings that mark out human life and resulting from both the uncertainty of its nature and the awareness of only being a gear of an overwhelming machine. Its minimalist representation almost resembles primitive paintings, with black lines marking boundaries that act as shadows. Figures dematerialize and become pure forms in a world made of absolute passion, emotion, loneliness, and sadness.

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