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Mino Maccari

Mino Maccari was born in 1898 into a middle class family from Siena. Since he was a child, he was extrovert and had a vivid figurative intelligence, indeed he was talented for free drawing with charcoal, but his father, a professor of letters, try to direct him towards humanistic studies. After completing his secondary education he enrolled at university and participate, just nineteen, as an artillery officer in the Great War.

At the end of the conflict, he resumes his studies in Siena and in 1920 he graduated in law and began working at the office of Dini in Colle Val d’Elsa and he dedicates his free time to his true passion: painting. His heated, mocking, and polemic character take him to participate at the social conflicts in the country and to the March in Rome in 1922. In 1924 he is called by Angiolo Bencini to edit the magazine Il Selvaggio, where are published his first engravings. At the beginning of 1926 he leaves the legal profession to manage the magazine, until 1942. Since this moment the magazine will have a new address, not so near to Fascist squads, but devote to art, satire and political laughter. With the transfer of the editorial staff of Il Selvaggio in 1925 in Florence, Maccari collaborates with Soffici, Rosai and Lega. Meanwhile, in the years 1927-1930, he partecipates in many national exhibitions. Also in 1930 Maccari works in Turin at the newspaper La Stampa as managing editor.

His presence in the cultural and publishing world of the fascist regime is very intense, he writes and collaborates in several magazines as Quadrivio, Italia letteraria, L’Italiano e Omnibus di Leo Longanesi and others. Very important is also his graphic production: from the Album di Vallecchi (1925), Il trastullo Strapaese (1928) and Linoleum (1931). Maccari illustrates in 1934 La vecchia del Bal Bullier by Antonio Baldini and in 1942 he publics the Album, Come quando fuori piove and Il superfluo illustrato. After World War II he continues to gain rewards, thanks to a prolific creative work to present some personal exhibitions; in 1962 he was also elected president of the Accademia dei Lincei and manages to get a solo exhibition in New York at Gallery 63.

After a past life always at the center of attention, he died without great clamour, in silence, almost ninety, in Rome in 1989.

TORNA SU