Mauro Stipanov

During the middle nineties of the last century Mauro Stipanov painted the cycle Capriccio architettonico (Architectural capriccio). referring to the homonymous genre of Venetian veduta painting of the 18th century. He turned the idea taken from the famous painting into sequences of colours with animated contours, similar to ornamental forms of the settecento. Ten years later Stipanov returned to the cycle substituting patterned forms of the 1990s with indications of architectural space.

Postulating painting itself as the centre of his forty years long activity, Mauro Stipanov continually explores and performs expressive and métier possibilities of artistic vision. The most evident premises are his colouristic vividness and expert realisation of painting techniques and their material peculiarities. Serious and analytical, he varies the composition and keeps record of the changes in paintings titled as catalogue entries. For Stipanov the idea ofthe composition is foundation of a painting, despite the seeming eternity, parallel to historical capriccio, a genero minore with a less engaging and variable form.

Sabina Žigo