In every period of history, art has sealed the thought of man, set fonts, celebrated the glories or, almost in the paradox, denounced the sins of the society that showed it self unaware of the needs of the individual. So the artist has given voice to the soul which was screaming its anger or alienation or refuge in the old, in unreality or dream. The art from half of the 800 up to 1970 is a wonderful example of how the artist was a prophet, a man capable, like few others, to combine the historical events to the popular collective mind.
Mauro Manini is a striking example of this assumption. His images are a sublime combination of representation and representation. Manini is true in the sublime movement of the individual who enters into himself, retrieves the past, the memories of clothes to project forms of nature. These forms are not, however ', mind you, a mere reproduction, because the give visibility to the feelings and emotions. In his paintings the real protagonist is the thought that disturbs the stillness of the senses of aphonia. If you look at his figures right you will notice that everything is messed up and driven by a rising wind, a kind of bolero that starts quietly and ends in an apotheosis with noisy and harmonic. The wind Manini is not generated by nature nor by the ancient mythologies, rather, from the soul of the artist who wants to upset the flatness, uniformity, ignorance and narrow-mindedness of a certain type of culture that smacks of commercials of consumerism personalistic and not actual knowledge of the truth.
Mauro Manini is a young artist, his works, however, are not bitter.You can perceive an evolution a growth but he is aware of the need to learn. It is clear the search in the period of Impressionism technique where the colors are designed without the masses but the color balance is obvious. The harmony is affected by the artistic great school in Spello where flourishes Marchionni's Renaissance pictorial material and figurative forms. But the novelty of Mauro Manini is in knowing how to give a symbolic meaning, so sublime and poetic to the details that make up its image.
You can not see work as a simple natural reproduction or representation from the truth. The intent is to move through the act of seeing the levers of memories, emotions, feelings. Life goes on, tell us the wildflowers of Manini, flows like the seasons, and the grandeur of the whole and of life itself is in seeing the little things, the infinitely small that man becomes infinitely large. This is the lesson of another great son of Umbria: Francis of Assisi.
The cornflower symbolizes the win against poison, against the devil because the mythology has it that the centaur Chiron was healed from the poison arrows of Hercules, a pupil of his careless with this flower, with its blue, is also a symbol of the Celestial Lady's mantle covering and gives shelter to her children. So the olive trees in the nerve trunk with branches in the upper denture will require light, mercy and peace are also hollow tree which gives shelter to the tired traveler on the path of life's journey, a journey that shows how Manini with its poppies, it will not ever again for departure. And 'This is also the poetic melancholy of this painter who depicts in his paintings, and disrupts the feeling of being gentle and became the father-explosive. Poppies are sleeping together and the passion, death is overcome by the new life that has in itself the seed of what was, is and will be the father. The poppy was the ancient sleep to meet the person that allowed inner monsters in dreams or nightmares. In any case, the poppy is oblivion and then move in the works because of Manini is the creative imagination that takes its cue from the historical figure and image to give figurative imagery. In his fields, his figures were rediscovered in the color and the objects that are moved by the wind of thought of those who love life and will not resign commercial approval of this time. The flowers of Manini, its lawns, trees are subject of the present and the past that remind us that everything, as the man does not live and not die in vain.
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