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The flip-size of Maselli's monumental canvas tells all
It's all in a name
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Titina Maselli, the women behind the signature. Francesca Amè paints an interesting word-portrait of the artist in the Italian Daily, Il giornale (2015): "Cosmopolitan, beautiful, witty and elegant, Titina Maselli always pursued art that went against the current: she never adopted a label of convenience, never painted a work according to the fads of the moment, never gave the market so much as a nudge (No art merchant or gallery was a reference point for her). She would paint while wearing Chanel; she would get around by taxi only and was known for her generous tips. She had just turned twenty when she married Toti Scialoja but, they were "to alike to last", so two years later she would bid good-bye to both him and the Roman School (of Festa, Schifano and Rotella). In the 1950s, Maselli went to New York where she lived in a humble flat and learned the lessons of Pop Art in just measure. She would then return to Rome to propose a strong brand of painting, made of signs and colors (dark blue, her unique purples, reds and yellows). Here is a wisp of a woman painting boxers, athletes and stadiums – a woman who does not drive, portraying cars and trucks. In the capital, she does not seek out ancient views, but looks for electrical wiring, neon lights, signs of bars and cafés: she yearns for 'urban things' that she can pour onto canvas."