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Giuseppe Muscio

The Poetics of the Cosmos in the Art of Giuseppe Muscio
If there is a concept, contained in a term that more than any other sets agree the scientific thought, the theological
and the philosophical one, this is the Cosmos. The ancient understood the term Cosmos as the harmonic order
created after the original chaos. It’s like saying that from the chaos a spark of the Creator has allowed an
anonymous and amorphous mass to have a new image, a definite role in creation and a special reason. All this for
every created thing not only for humans. For the Greek philosophers Cosmos was the idea of maximum beauty
united between animum, psyche and outer man, rational life. A person who lived this unit was in a state of grace
and had the gift of making beautiful things around him. For the Pythagorean philosophers, that spark that
transformed the chaos into Cosmos, is present in every living being, from the largest one to the invisible one, as if
the very large had the image and the reason to exist even in the infinitely small and so the infinitely small reflects
itself and can be recognized in the infinitely large. It was so for the Neo-Platonic philosophers as Marsilio Ficino,
Giordano Bruno, Francesco Bacone, for Leon Battista Alberti, Leonardo da Vinci and Michelangelo Buonarroti
the infinitely large could be recognized in the line that became a symbol, in the mystery of the sacred
representation, and in that making art that liberates the mind from the raw material. Giuseppe Muscio is a
hyperrealistic painter, but it is in the consciousness that he reveals and rediscovers the cosmos through art, to be
understood in his artistic research. In his works, whether they are still-lifes or bodies taken as in a still image from
a choreographer what is clear and what this artist pursues and achieves the a perfect harmony between the color
space, form and line. His works are born from a clever use of materials very similar to what you read in the treaties
of Cennino Cennini. He uses refined linen and then a specific compounds with the same as indicated in the
Renaissance treatises, he uses brushes made of fine marten, he cuts the bristles because the color is distributed
by points not by surface, I would rather talk about the chromatic composition than about painting. The color
features as notes on a staff and each bar beat and push ahead the other. The real is enhanced and become
harmony in the works of Giuseppe Muscio, nothing is left to chance, even if in the paint layer the imaginary light
corrects and shows what the natural light did not do in the compositions which he elaborated. The oil colors are
mixed with pure pigments that Muscio shapes with the techniques derived from the wisdom that comes from those
who make art forever. Each work is the result of hours of patient work, the surface acquires line, shape and color,
the glazing is composed from depiction and representation at the same time. There is a balance of form and tone
in his works that suggests the Plato’s idea of dance. His color balance is brilliant it’s almost a philosophical
chiasm, then there is the magic of the light reflected from the shiny surfaces. Each part of the painting has life as if
you read all the details that correspond to the mechanical composition and color. But it is in the representation of
transparency that can be seen the brilliant mastery of Giuseppe Muscio, he does not use photos if only for making
more practical the images to be portrayed, nor is photographic the effect that he pursues and gets in any case.
What makes Giuseppe Muscio is a true synthesis between the tangible and transcendent almost that the withdraw
objects are the only witness of the time lived above all the feelings, sensations, emotions. So, a still life and the
atmosphere of his monochrome canvases have the aura to evoke that spark that makes us feels part of one great
source. The work of Muscio is a step by step ascendance to rediscover that ancient spark that the modern
culture of this modern decade of the second millennium has simply excluded as useless and has covered with
emptiness. The observer discovers the key in Giuseppe Muscio’s paintings and eventually find himself
shipwrecked in the poetics of the Cosmo.

Alberto D’Atanasio
Professor of Art History and Semiotics of non-verbal languages
M.I.U.R. Ministry of Education, University, Research.

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