Maurizio D’Agostini

Maurizio D’Agostini was born in Vicenza, and from a young age, he demonstrated a strong inclination towards art. At just fourteen years old, he left formal schooling and dedicated four years to studying engraving, embossing, and drawing at the Art and Craft School in Vicenza. During this time, he became interested in decoration for jewelry, particularly ornamental drawing, which would later become one of his signature techniques. Between 1964 and 1976, D’Agostini chose to learn his craft hands-on, studying under the guidance of local master artisans in Vicenza and refining his skills in engraving with a burin. Despite the traditional, sometimes restrictive artisan mentality, which he found limiting to his expressive freedom, D’Agostini began seeking new ways to create. In 1967, he attended painting courses with artist Otello De Maria, broadening his artistic perspective beyond the realm of jewelry. In 1969, he opened his own engraving and chiseling workshop, gaining both economic and creative independence, which allowed him to explore the intersection of art and craft. In 1978, his first solo exhibition at Studio Pozzan in Vicenza marked a turning point in his career, with works where engraving became his primary means of expression. He also began creating sculptures, including small carved stones, while his artistic exploration expanded into terracotta. Between 1969 and 1975, D’Agostini dabbled in theater, performing with the “Gli Istrioni” troupe, directed by Otello Cazzola. This theatrical period was crucial in shaping his artistic awareness and instilling in him a rigorous discipline that would influence his future works. In the following decade, between 1977 and 1990, D’Agostini’s career took off. He became a master of engraving and began participating in both solo and group exhibitions, attracting attention from collectors. A trip to the United States in 1982, particularly to Assateague, Maryland, inspired a significant series of works, including the engraving “The Shell of Assateague,” marking the beginning of a productive creative period. A pivotal moment came in 1984 when writer Léo Gantelet invited him to exhibit in France, opening the door to numerous exhibitions in cities such as Annecy, Geneva, and Montreux. During this time, D’Agostini developed a deep connection to monumental sculpture. Between 1991 and 1997, D’Agostini produced some of his most important works, including monumental pieces such as “The Ruler of the Island” and “The Astronomer.” These years were marked by his continuous exploration of sculpture, using stones from S. Gottardo and S. Germano in the Berici Hills. He also focused on the “Sassi del Brenta,” a series of sculptures that led to the publication of a trilingual book, *L’oro del Brenta*, celebrating this body of work. His exhibitions in Switzerland and France garnered him increasing recognition. From 1998 to 2004, D’Agostini delved into new artistic explorations, including oil painting. In 2002, he held one of his largest solo exhibitions, showcasing fifty sculptures and seventy drawings, which received significant praise from both the public and critics. His works continued to be displayed in Italy, France, and Switzerland, with his sculptures “Silence,” “Cosmic Flight,” and “The Cosmic Man” reflecting his ongoing search for themes related to human existence and the universe. In the period from 2005 to 2009, D’Agostini focused on monumental works. One of his most notable creations during this time was “The Wings of Freedom,” which was acquired by a pair of American collectors and later transformed into a 13-quintal bronze sculpture for a park in Boston. In 2007, he began working on “The Argonaut,” a colossal bronze sculpture that would be installed in Lendinara. From 2010 onwards, D’Agostini continued to exhibit in major group and solo shows, further expanding his artistic exploration. In 2013, his sculptures were displayed in a permanent exhibition at Galerie Denis Lacaux in France, and that same year, some of his works were acquired by Veneto Banca to be showcased in its Italian branches. A significant turning point came in 2014 when he began focusing on oil painting, marking the start of a new chapter in his artistic career. Today, D’Agostini lives in his home-studio at the foot of the Berici Hills, a place that continues to inspire him in his artistic journey as he continually seeks new ways to explore both the human condition and the material world. Maurizio D’Agostini’s work occupies a unique space within the realm of contemporary sculpture. His approach transcends the boundaries of traditional sculpting, offering a lyrical and almost mythic interpretation of form. However, what truly sets him apart from other great names in sculpture, such as Marini, Messina, or Mazzacurati, is not merely the poetic quality of his pieces but the way he constructs an entirely new reality, one that is both imaginative and self-contained. While many sculptors create in response to the world around them, D’Agostini does not imitate nature; instead, he reinvents it, crafting his own pantheon of beings, idols, and mythologies. The impact of D’Agostini’s sculptures on the viewer is akin to the profound sense of disorientation experienced by the Chinese farmer Yang Zhifa in 1974 when he uncovered the Terracotta Army of Emperor Shi Huangdi. There is an overwhelming feeling of being confronted by an alternate reality, where the power of invention challenges our perception of the world. The viewer is confronted with a vast array of human-like figures, and in this moment, the familiar distinctions between reality and imagination blur. The creations of D’Agostini ask a singular question: who has the creative authority to conjure such an extensive, alternative humanity? This is the essence of D’Agostini’s work—a reimagination of reality, constructing new worlds, identities, and mythologies that replace the familiar. In contrast to traditional representations of figures from classical mythology, D’Agostini’s sculptures present these figures as mute sentinels, reminiscent of the impassive sphinxes of ancient Egypt. These works do not speak the language of history; instead, they embody a silent grandeur, one that seems to echo the fading voices of forgotten gods and heroes. It is this silence that pervades his work, contributing to its power and mystery. The artist’s vision is not of tragic loss but of monumental presence—figures caught in a moment of existential stillness. One of the most emblematic works in D’Agostini’s oeuvre is *The King and the Queen*, a sculpture that exemplifies the artist’s ability to convey a grand narrative through simplicity and solemnity. The figures, bound together by a shared fate, are imbued with a sense of quiet dignity. Their faces exude a stoic resolve, reminiscent of the great spirits of history—figures like Saul, Attila, and Macbeth—who embody a moral grandeur far removed from the shallow giantism seen in much contemporary art. For D’Agostini, titanism is not about physical size; it is about the moral stature of the figures. His titans are aware of their inevitable decline, and this self-awareness imbues his work with a profound sense of tragic grandeur, rather than mere size or spectacle. The theme of power in D’Agostini’s work is explored through both terrestrial and celestial forces. The sculptural group of the planets, for instance, contrasts the temporal authority of the King and Queen with the spiritual dominion of these cosmic entities. Figures such as *Mars* (2004) and *Neptune* (2008) represent forces that exist beyond human comprehension, yet they remain tethered to the earth through the material of terracotta, grounding them in a way that amplifies their otherworldly significance. *Neptune*, for example, is a fortress-like figure, enigmatic and submerged, evoking the sense of a powerful deity who hides away in his own secretive domain. In contrast, *Uranus* (2009) represents the fragmentation of power, with geometric forms and suspended orbits that reflect the cold, impersonal nature of a cosmic force seemingly untouched by time or decay. Ultimately, D’Agostini’s work is not simply a series of sculptures but an exploration of the infinite possibilities within sculpture itself. His ability to sculpt not just physical forms, but entire worlds, is what makes his work both striking and singular. His pieces are not just representations of human figures; they are incarnations of larger forces—cosmic, spiritual, and existential—that speak to the viewer on a level far beyond the physical. Through his work, D’Agostini invites us to consider not just the figures of the past, but the new mythologies of the future—silent, enduring, and endlessly complex.