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Titina Maselli

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Titina Maselli has lived and worked in Rome, Paris, and New York. Her first solo exhibition was in ’48 at L’Obelisco, then at La Tartaruga in ’55, and she took part in various Venice Biennale between  1950 and 1995.
Her friends included Renzo Vespignani, Corrado Alvaro, Alberto Moravia, Alberto Savinio. During the Pop Art era, she made large-scale works in which cities, skyscrapers, tram lines, traffic signals at night, and neon signs became omnipresent themes of modernity. She brought the city back into the spotlight for the second time, after Boccioni, who portrayed Italy’s initial wave of development in the early twentieth century. But in the decades following World War II, the world not only had to be rebuilt, it had to be changed. In Titina Maselli’s cities, young athletes play, cyclists race, boxers fight. All of this is depicted in bold tones of red and blue, and a style that is clearly Pop.
We should keep in mind that in those days Rome was once again the capital of the world, for however short a time. Twombly came over from America to see the classical Greek and Roman antiquities. Rauschenberg rushed to Rome to see Burri, and after viewing that Italian master’s works, threw his own into the Tiber in a fit of pique. This was the era of Cinecittà, Fellini, Visconti, and Antonioni. Titina’s brother Citto was a filmmaker, and she formed close ties with the world of cinema, absorbing elements of it into her paintings: frames in sequence, subjects in movement, all in a brightly colored, pictorial, intense atmosphere.
Titina was a Painter with a capital P, and toward the end of her career began to take a more abstract approach, more similar to Carla Accardi—another of the three queens of postwar Italian painting based in Rome, along with Giosetta Fioroni. This was the period of the feud between Togliatti and Vittorini, between figurative and abstract. An artist yet to be properly explored. Exceptionally talented, visionary, poetic, with a deft hand and keen sense of color.