Mario Donizetti’s precocious vocation while still in school, his phi- losophy towards art and life, his artistic concepts, exhibits, great portraits published on the front covers of Time magazine, his works displayed in the most prestigious European and American museums, all meld with his love for Bergamo, the city he has never left.
Preface by Leonardo Castellucci: Mario, Costanza and their city
Mario Donizetti and Costanza Andreucci. Then their Bergamo. The place they first met and where they have spent their entire lives. Young, in fact very young, they bound themselves forever without making any promises to each other, but making an effort to find similarities that seem to be the only key to a relationship that can withstand the test of time and difficulties of life. He begins painting her image seeking in her a model of ideal beauty, she, flattered and coherent, accepts the challenge, admires his talent, in fact extols it without relinquishing a piece of advice, at times a criticism. Together, this is how they bind themselves in a rare union, in a connected but not dependent relationship, on a journey of existence that originates from a common feeling.
Contribution by Gianluigi Colin: The Sweet Obsession
In his own very personal way, Donizetti is close to realty. Not only because his paintings represent one of the highest ex- amples of figurative painting and realism, but for his being, without many nuances and with peremptory tones, a ‘total’ intellectual: from his philosophical studies – “I talked about theology with the Pope” – to the invention of a new way of writing music, from his experience as a designer, to his intense essay-writing. His vision also compels him to create paintings filled with symbolism in keeping with the contradictions of our society. An example? Take a look at the series The Seven Deadly Sins or the painting She Wanted to Know: it depicts a crucified woman, a metaphor of the tormented and unfortunately current female condition.
There is, in the end, a dimension of Mario Donizetti that reveals his most visible yet most hidden and intimate identity; that of the artist in relation to his source of inspiration, his wife Costanza. During my first meeting with her, I felt the same emotion that I would have experienced had I been able to undertake an impossible voyage in time, exchanging glances with Caravaggio’s model who posed for his Madonna of Loreto, or with the beautiful young woman painted by Pollaiolo who is now the modern testimonial of the Poldi Pezzoli Museum in Milan. It was symbolically a meeting with the Muse. In reality, in that moment, I had simply met the woman who had always accompanied Mario and has always been his accomplice, travel companion, jointly responsible of a common destiny and guardian angel of every moment in his life. I do not believe it possible to discuss Donizetti’s art without emphasizing the relationship of absolute devotion between the artist and his model. I enjoyed observing Mario explain his precious pencil drawings that were almost all of his wife, and listening to the undertone of Costanza’s comments as she recalled each drawing’s moment and meaning. An affectionate game that hides an indissoluble bond, a sweet obsession that communicates the most simple yet profound being of an artist: possessing art as life and life as art.