Giuseppe Muscio

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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