Figura sulla poltrona e rondini 2010, oil on canvas, 70x70, detail
Figura sulla poltrona e rondini 2010, oil on canvas, 70x70, detail

Floriano De Santi

exhibition catalog "Comune di Corsico", october 1999

The painter-traveler, but also the writer who describes his travels, or the filmmaker who is filming them, is not an inventor but also an inventor. In the sense that he moves, looks, feels, record, impressive, pretends mental images and emotions, has experience of elsewhere and visiting and draws from different materials for implementation of their work. "... In the years where Denmark Marchesotti stays for a few months, inspirer and leader of its newest series of paintings "Figure e paesaggi del nord", where you also represent the farmers and fishermen in this country everything is just plain, the flatness of the sea or overland to the far horizon circle. No mountains or hills break the monotony without limits." "...The paintings "Le dune di Houstrup" and "Paesaggi del nord", both of '98, between sea and land there is a relationship of almost continuity, merger, steeped in salty air coming right into the earth smells hays reach the coast, which is the threshold, "limen", becomes a floor space between being and nonbeing, where, as Holderlin said, the "wherever possible becomes real". "...The other part of the "corpus" pictorial Marchesotti is dedicated to the human figure, he nails a little exaggerated on the canvas with a clear and visionary." "...The stretch and contort the shapes, reminiscent in some ways and Soutine Varlin, become ever more desperate and fertile fusion of color, sense of flame, the flow of matter in spirituality." "...You could do subtle disquisitions and hermeneutical distinctions to explain his affiliation or not the Expressionists, and the characteristics of his language expressionist mark of a quality "Flemish" rather than German. Soutine fits him for the imaginative excitement edged with a delirious burning and utopian; Nolde for interpreting the intensity of colors. But how realistic is not it, so it is not true Marchesotti expressionist. Certainly he has served with less need for stylistic Munch; considered the "New Objectivity" certain bitterness and broken form (not the complacency of the cruelty that seems to release a Grosz or Dix from the human).

Filippo Abbiati

exhibition catalog "Comune di Siena" Siena, 1997

The restlessness of existence to this master calendar and silent, is the study of the subject. His research systematic part, methodologically from outside, looking, appearance, to get the "inside". The figure is therefore always at the center of his pictorial investigation. A figure exaggerated, twists, becomes disturbing, sometimes vulgar, wounded, dripping with cynicism and fatigue. "... The" diversity "of the artist achieves high results where sociologists have written million pages annoying. Women, men, prostitutes and transvestites are offered in these large canvases" as is "in it, as is" really "because he, the painter looked at them for hours, stealing their wrinkles, the folds of the body, eyes rimmed, her lips painted too much and too used. "... The chair is inside with recurrent theme, the 'man eating watermelon" is falsely play with those colored balls that invade the fund, and even torsos with sex live, red, against a background ash , Funeral. " "... In a series of" Naked in the chair "the figures are caged, locked in deep borders. In the eyes there is the resignation of those sentenced to life. They are perhaps the most dramatic moments Marchesotti Observatory.

Mario De Micheli

exhibition catalog "Comune di Siena" Siena, 1997

In the paintings there Marchesotti turmoil and energy. "... His every image becomes a metaphor or metaphor of the human condition. You look good eye with his male and female nudes, his restless figures: every image he portrays, counts with an unprecedented vitality, an implicit power" . "... But behind them there is always something that seems to be depriving them of free and sovereign, enjoying of a fervor and vigor as possible."

Enzo Fabiani

exhibition catalog "Comune di Siena" Siena, 1997

In Marchesotti is a sort of psycho-camouflage paint that, say, led him to overcome the same by reason of objectification painting, dragging body and soul in the URL in discomfort and even the taste of despair, disintegration. "... See the vast production of Marchesotti some paintings in which the cry gave, in representation, a disturbed peace. As a" true story "of 1980, where we face, a bare expanse, where a man lies torn behind her and some forms variously consider glancing at the bottom. Well, here too there is tragedy and bitter disappointment, however, the two bodies, albeit in different state, they have something solemn and human (very intense the face of Young) that recalls the pain accepted, albeit with melancholy patience. There are also some paintings that feature a sort of noble fallen, even defeat, and are made of strong and balanced "... a show where c ' is a sad farewell to the body, beauty, youth, and a farewell from subsidence caused by the defect and make it appear as a conviction, just a victim who feels the noose around his neck near the end. There is here 's scream, or rebellion, but made an eternal darkness without rancor toward itself, but rather pity. "

Claudio Rizzi

exhibition catalog "Comune di Verbania" Verbania, 1995

It 's a world worried by Massimo Marchesotti. Constant is worried because his research, and felt uneasy because, if not painful, its experimentation. "... From Bonnard, some impact of early influence gradually along the streets of an interpretation more impulsive as the synthesis of perception and language, to Kirchener, and a profession of respect, almost affection Soutine and Derain. When the half of survey, the purpose or pretext, if you prefer painting is to be shown, face or body image with the soul and psyche of concern, the teachers appear here, Schile and Dix and Grosz and contortion of the elements in traits in aphonia lacerating suffering, echoing as great teaching reading Francis Bacon and Lucien Freud.

Raffaele De Grada

"Espressionismo a Como" from "Corriere della Sera" Milano, 1991

The painting Marchesotti back to the "realism" of the 50s, to the intention of representing the human figure in the order of "doing" of 'agency' in this society. His language is part of that broad current of Expressionism that extends from the examples of Max Beckmann and Otto Muller onwards. It 'a painting of aggressive vitality which replaces the' scream 'communication. The sign engraving and color are used with the simplicity of the graphic away from the modulations and chromatic refinement. The sex scenes and nudity, especially in "dishabille" reminiscent of the iconography of merciless Grosz, the primary model that persists in the imagination of Marchesotti. It follows the violent and exasperated obsession, a kind of madness that instead of taking the channel surreal stresses in an atrocious distortion of reality. In large compositions of the technique of the artist is naked Kokoschiana. Its merit is not an easy escape into abstract expressionism and face, with original personalities, themes already touched by precedents such as the young man who eats watermelon as if it were the head of Count Ugolino.

Giorgio Trevisan

"L'Arena di Verona" Verona, 1987

The Shield Gallery presents an exhibition by Massimo Marchesotti. An exhibit of works in which there is a sort of violent collision between the painted image and strong emotion that it can be deduced by observing the subjects represented by this "tumultuous" Milanese painter. ... The painting Marchesotti is charged with all those tensions, those fears, those concerns that contemporary man deforms, expands, lives with "suffocating madness" as testimony to a reality that every day does not improve, but is becoming more dramatic, increasingly difficult. "

Rinaldo Sandri

"L'Adige" Trento, 1985

Massimo Marchesotti first presented with a solo exhibition in this city of Trento. "... Like it or not his exhibition suggests. "... Man that brings back a quarter of a beef slaughterhouse in a gesture that recalls the ancient gesture of the offender. Her naked body, emaciated, stretched in an effort to support a weight of the cross awakens pity. And if seeing the woman of the slaughterhouse in purple, bold woman who rummages inside look into our eyes you think about Mary Magdalene, one can not but be disturbed. "

Marina Di Stasio

"L'Unità" Milano, 1984

Massimo Marchesotti submitted to the Art Gallery Ciovasso his latest paintings: large-scale works, devoted mostly to the theme of the slaughterhouse, a subject very dear to the artists of our time for the metaphorical potential, which gives its Marchesotti original interpretation. Remarkable is the force, the violence of these figures, accentuated the intensity of color and dall'arditezza architecture background.

Mario De Micheli

exhibition catalog "Galleria Ciovasso" Milano, 1984

Dear Marchesotti, I'm thinking about the pictures that you showed me a few weeks ago in your beautiful studio in Via Paolo Sarpi. "... There is no doubt that you are a painter of commitment, that is a painter who does not accept their responsibility when you put in front of the canvas. The consciousness of your relationship with the world, with its contradictions, with the reasons for violence that arise, is a sensitive and conscientious living, which generates in you anger and pain, rejection and condemnation "."... is why, in your work you tend to "The great "."... under stand you be as close as straitjackets that bind your characters, metaphors of coercion that society exerts on us wrong and prevaricating. "

Giorgio Seveso

L'escluso è un Uomo - exhibition catalog "Palazzo dell'Arengario" Milano, 1983

Images of Marchesotti have all the brutality and the awkward, inelegant harshness of truth. There is in their merciless mirror of a view, a moral discourse that requires a look at our everyday reality without veils, without hypocrisy or anesthesia, and draw from outside the net movement of the surgeon substrate intimate violence, of abuse, loneliness and unheard of contradictions. "... At the heart of his work, in fact, is always contemporary man, the person, I transgressed and alienated in his most jealous provisions in its most intimate and real needs. Love, sex, 'friendship, life itself: everything is violently deformed, is forced to live under the strict patterns of behavior imposed by the impersonal dogma of our culture, and what stride or striking these grids of 'normality' plunges into the most desolate of loneliness until ' suffocating embrace of madness and ambiguous"