We are raffling a beautiful painting by Argentinian Artist RAUL MAZZONI and raising money for the The Advanced Music Studies Foundation, a non-profit organization in Flagstaff, Arizona.  The Advanced Music Studies Foundation aims to provide students and programs with financial assistance to help train young artists in the 21st century.  One such program is The Granados Music Institute, a new, groundbreaking program for aspiring flutists who want focused and intense study preparing for auditions, graduate or post-graduate work, and help with developing their professional careers and artistic projects.

The Granados Music Institute focuses on creative problem solving, entrepreneurship, teaching artistry, and a thorough understanding of the science of both the instrument and the mind. Funding received by the Advanced Music Studies Foundation also goes towards the development of online educational content to help young musicians in the 21st century.

This painting by Raul Mazzini is valued at $5,000.00 and is a great prize to help benefit the Advanced Music Studies Foundation.  Proceeds from this raffle will go toward advancing the Granados Music Institute through tuition awards for students and online educational program development.   

For more information about the Granados Music Institute please visit:

http://www.granadosmusicinstitute.com

The Advanced Music Studies Foundation and The Granados Music Institute wishes to thank SaludArte Foundation and Ideobox Artspace for generously donating the painting for this raffle.

About the Artist:

Raul Mazzoni was born in the city of La Plata in 1941. His adherence to geometrical abstraction arises in 1960 in his home city, when he joins a group of young people under the influence of the then innovating classes in vision given by professor Héctor Cartier at the Fine Art College (now Faculty of Fine Arts) of the same city. His enrolment in this artistic trend lays the conceptual foundation for participating as a teacher of the visual communication course of studies, created and conducted by professor Roberto Rollie at the Fine Art College of the University of La Plata. Subsequently, he would give courses and seminars about vision, visual communication and expression techniques at various private and state institutions, among which we can mention the Ernesto de la Cárcova College of Buenos Aires and the Faculty of Architecture and Urban Planning of the University of La Plata. It is in the year 1973 that he defines his plastic proposal, which he will call “bi-spatial painting,” making several individual and collective exhibitions in this country and abroad.
   
The main museums of the country have works, among which are found: the Fine Art National Museum, the Modern Art Museum, the Sívori Museum, the Contemporary Latin American Art Museum (MACLA) and several private national and foreign institutions and collections.

The main bibliography includes:

New History of Painting and Sculpture in Argentina. Romualdo Brughetti. Arte Gaglianone, 1991.
History of Argentinean Art. Jorge López Anaya. Emecé. 1997.
New International Visualisation. Arte Struktura, Milan, 1997.
Argentinean Art. Four Centuries of History (1600-2005). Jorge López Anaya. Mc Editores. 2005.
In 1995, after receiving several prizes and distinctions, he obtains the Great Prize of Honour of the Argentinean National Hall of Painting.

Poised on the boundary that separates the real from the illusory, Raúl Mazzoni’s work plays along the subtle edge where the invisible is indistinguishable from the visible. Given that verbal language usually falls short in discussing images in general, the challenge of analyzing painting that consciously chooses to situate itself at the intersection between reality and illusion will oblige us to set aside certain conventions and raise the bar. Throughout the history of art, the terms presentation/representation have effectively triggered endless discussions, while the duo real/illusory— considered an opposition between factual existence and appearance—can be traced all the way back to Plato’s allegory of the cave.

Therefore, in any analysis of painting that combines elements of trompe-l-oeil with fragments of realty itself, we will need to observe the historical background of the approach the artist adopts while, at the same time, delving into the plastic issues that figure among his primary concerns. In this sense, I am interested in using the artist’s words as the point of departure. In response to the question about what he was looking to achieve in his bi-spatial paintings, Mazzoni answered, “…I manage to integrate the real and the illusory in a single visual misapprehension”.

Painting generously donated by SaludArte Foundation and Ideobox Artspace.

Raul Mazzoni, the artist

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