The artistic sensitivity is an undetermined quality in each person, who, according to the circumstances, gives it life in a specific format. Within the artist it can remain a host of different choices, a call for more than just one expression, so to speak; but what the author wants to say and means is always the same: he singles out a peculiar symbol around which he trains himself, creates and produces. Mario Cei condenses in the human figure, seen as image and person (also, being himself an actor, “a characer of tragedy”), his idea of life and his will to exalt reality; the body, whom he moulds to the expression, reappears in his paintings and drawings as a means to and a summary of his interpretation and obsession - of the meaning to the existence. In his works made with Indian ink and pencil, the stroke is soft and strong, as a learned vibrating of the voice; the gesture of the figures is focussed and symbolic, just like in his theatrical performances. Cei chooses models taken from Classic Antiquities, preferring those of the Tragedy rather than those of the history, and they are conscious of all the meanings a millenarian culture has loaded them with, but sharp in their incorruptible beauty. Cei portrays them through a sign which is in turn enhanced in anatomical hyperboles but veiled of inner softness, and which is aware of the whole rewriting of the Greek myths done by the Romanticism before, and by the Symbolism after, all the way down to the intellectual decay of the Secessionism. The result is a work both shady and pure, loud and speechless, which skilfully finds his place in the modern thread of reinterpretation. Rossana Bossaglia At the exhibition ”Animula vagula” Bottega dei Sogni, Milano 1990
The artistic sensitivity is an undetermined quality in each person, who, according to the circumstances, gives it life in a specific format. Within the artist it can remain a host of different choices, a call for more than just one expression, so to speak; but what the author wants to say and means is always the same: he singles out a peculiar symbol around which he trains himself, creates and produces. Mario Cei condenses in the human figure, seen as image and person (also, being himself an actor, “a characer of tragedy”), his idea of life and his will to exalt reality; the body, whom he moulds to the expression, reappears in his paintings and drawings as a means to and a summary of his interpretation – and obsession - of the meaning to the existence. In his works made with Indian ink and pencil, the stroke is soft and strong, as a learned vibrating of the voice; the gesture of the figures is focussed and symbolic, just like in his theatrical performances. Cei chooses models taken from Classic Antiquities, preferring those of the Tragedy rather than those of the history, and they are conscious of all the meanings a millenarian culture has loaded them with, but sharp in their incorruptible beauty. Cei portrays them through a sign which is in turn enhanced in anatomical hyperboles but veiled of inner softness, and which is aware of the whole rewriting of the Greek myths done by the Romanticism before, and by the Symbolism after, all the way down to the intellectual decay of the Secessionism. The result is a work both shady and pure, loud and speechless, which skilfully finds his place in the modern thread of reinterpretation. Rossana Bossaglia At the exhibition ”Animula vagula” Bottega dei Sogni, Milano 1990
The artistic sensitivity is an undetermined quality in each person, who, according to the circumstances, gives it life in a specific format. Within the artist it can remain a host of different choices, a call for more than just one expression, so to speak; but what the author wants to say and means is always the same: he singles out a peculiar symbol around which he trains himself, creates and produces. Mario Cei condenses in the human figure, seen as image and person (also, being himself an actor, “a characer of tragedy”), his idea of life and his will to exalt reality; the body, whom he moulds to the expression, reappears in his paintings and drawings as a means to and a summary of his interpretation and obsession - of the meaning to the existence. In his works made with Indian ink and pencil, the stroke is soft and strong, as a learned vibrating of the voice; the gesture of the figures is focussed and symbolic, just like in his theatrical performances. Cei chooses models taken from Classic Antiquities, preferring those of the Tragedy rather than those of the history, and they are conscious of all the meanings a millenarian culture has loaded them with, but sharp in their incorruptible beauty. Cei portrays them through a sign which is in turn enhanced in anatomical hyperboles but veiled of inner softness, and which is aware of the whole rewriting of the Greek myths done by the Romanticism before, and by the Symbolism after, all the way down to the intellectual decay of the Secessionism. The result is a work both shady and pure, loud and speechless, which skilfully finds his place in the modern thread of reinterpretation. Rossana Bossaglia, 1990 At the exhibition ”Animula vagula” Bottega dei Sogni
The artistic sensitivity is an undetermined quality in each person, who, according to the circumstances, gives it life in a specific format. Within the artist it can remain a host of different choices, a call for more than just one expression, so to speak; but what the author wants to say and means is always the same: he singles out a peculiar symbol around which he trains himself, creates and produces. Mario Cei condenses in the human figure, seen as image and person (also, being himself an actor, “a characer of tragedy”), his idea of life and his will to exalt reality; the body, whom he moulds to the expression, reappears in his paintings and drawings as a means to and a summary of his interpretation and obsession - of the meaning to the existence. In his works made with Indian ink and pencil, the stroke is soft and strong, as a learned vibrating of the voice; the gesture of the figures is focussed and symbolic, just like in his theatrical performances. Cei chooses models taken from Classic Antiquities, preferring those of the Tragedy rather than those of the history, and they are conscious of all the meanings a millenarian culture has loaded them with, but sharp in their incorruptible beauty. Cei portrays them through a sign which is in turn enhanced in anatomical hyperboles but veiled of inner softness, and which is aware of the whole rewriting of the Greek myths done by the Romanticism before, and by the Symbolism after, all the way down to the intellectual decay of the Secessionism. The result is a work both shady and pure, loud and speechless, which skilfully finds his place in the modern thread of reinterpretation. Rossana Bossaglia At the exhibition ”Animula vagula” Bottega dei Sogni, Milano 1990