Claudio Marciano was born in Ventimiglia 19 September 1955. He began his technical commercial studies and abandoned them to follow the artistic ones between Florence and Milan. In 1980 he was awarded the diploma of the “Machiavello” Academy of Florence and in the same year he began attending courses on the psychology of communication. He was the Regional Superintendent of the Academy of Florence, thus organizing courses, educational-cultural exhibitions, conferences in several Italian cities.

To remember: Craft or Art? ; Triumph and death of the human condition or the labyrinthine fragility of a thousand destinies; Art and Language… For this reason he was awarded the Hotel Cavalieri Hilton in Rome, a gold medal for artistic and organizational merit by the Hon. Spadolini and Columbus. In 1987 the title H.C. of Doctor of Art of the University of Humanistic Studies in Florida, from there until recently of the G.Morandi School of Fidenza (Parma).

At the end of the eighties he went to Vallauris to learn ceramic techniques for the duration of four years in the studio of Marius Musarra and Max Siffredi. Later, at schools and municipalities, he formed groups of dramatization (theater-dance), graphics, ceramics, painting-sculpture, also working as a consultant U.S.L. for programs of intervention in subjects with mental distress. He has performed in various national and international exhibitions since 1975. There are many book covers published by the Presidency of the Council of Ministers Dip. Social Affairs who published over time his most significant works.

In hosting a solo exhibition of a young artist from the city, in this year dedicated to young people, the school can not fail to take into account two purposes of parelleli and, here, sommantisi.
The two ends are on the one hand the mastery and the meaning of the work and on the other its usability for young people.
Of the mastery more and better than me said my colleague Prof. During : I have seen in the paintings pictorially alive men who, without exaggeration, invite us to penetrate the intimacy of industrious events not for pure formal and emotional complacency, but to seek and recognize you as human, and for this very reason sometimes bitter, there is inside .
Visitors will have to try to understand the spirit that permeates the paintings on display, and to draw the lessons that are inherent in the work of the artist , but that everyone, and in particular every teenager , lives according to its own culture and, ultimately, its own humanity.
With this spirit I accepted with conviction the proposal of the Councillor for Culture of the City of Ventimiglia to host and present Claudio Marciano.
Possi prof. Carlo

Triumph and death of the human condition : the labyrinthine fragility of a thousand destinies
This is how we can summarize the itinerary of this pictorial exhibition by Claudio Marciano : which is ultimately an allegory and an artistic reflection of the infinite existential potential. With particular attention to those gestural and manual contingencies that, over time, always place the individual and contact of a nature in which you want to recognize even beyond repeated distinctions.
Image as a symbol of vital energy affirmed even in the thought of a few moments or in pauses of heavy solitude : pictorial construction in which predominates the sense of marginalization of industrial man, while projected on the ruins of a possible and yet lost Eden.
Durante prof. Bartolomeo – Historian

Equipped with a craft with captivating images, linked to an idea of modern culture and pictorially educated….
Vittorio Sgarbi from “Il Tocco dell’Arte” (2019)

Intellectualist, almost cerebral for the importance attributed to the written word is the context represented by Claudio Marciano, which tempers the departure from reality through the material intensity of his human ghosts. With Marciano, man returns to the field, recovered as a unit of measurement of form and exalted as a touchstone of a space that sometimes seems to see him succumb.
Fulvio Cervini – Art Critic (1995)

The sculptural work of Claudio Marciano is classic and at the same time romantic because it is anchored in the Italian tradition. He has the same passion for the form that characterizes the fifteenth century, marked in Italy for the particular creative and artistic consciousness where they reached new and constructive knowledge of the ideal measure of the human body, of its shapes and proportions and the role of lights and shadows in painting. Marciano’s works are a convincing testimony of his fidelity and tradition. The result is an intrinsic balance at the base of his artistic activity that determines a production in which are present both the idea-image, the treatment of the material, and the accurate modelling of the details. His sculptures are not at all influenced by contemporary currents, he uses modern elements to insert them into his particular style. The classicism of his work is not however the result of a decision but the interaction between his vital forces and the sculpture itself, as to say that it is in the subconscious that the mystery of art is found and it is from there that the associations with their particular rules and laws descend, that contribute to deforming real structures. The strength of the idea-image determines the expressive intensity of the single form and its way of entering the concrete ; it is the foundation and the mystery from which the particularity and individuality of the work derive and in it is intrinsic the expressive force deriving from the interpretation that the artist gives to his own time. The works of Claudio Marciano, forged by matter, which comes from the earth, communicate desire and desire for life ; clear messages transpire : from earthly ties, to freedom, from sensitivity, to spirituality. Still in embryo, in continuous becoming, they fight each other in an uninterrupted and finalized activity.
From the exhibition in Rhodt (D) presentation of Peter and Gudrun Dotel Galleristi (1995)

Claudio Marciano is considered by critics as the most valid heir of the Italian cultural tradition, interpreting the problems of an entire generation, always maintaining an exemplary fidelity to their inner motives with a production of the highest artistic level that has outlined the life and the cultural path.
From “Ente Europeo Manifestazioni d’Arte” (1991)

Claudio Marciano dedicated himself for many years to the pictorial experience, studying for a long time the colors and the forms that arise from it. The long study then resulted in the sculpting where the search for the birth or creation of meaningful forms from insignificant matter continued. The plastic figures, born therefore coherently from the pictorial ideology of Marciano and in fact we discover similar characteristics between the two types of works. Instead of color, now the figures are born from earth or stone. They are figures full of meaning, wishing to express all their deep emotion. They are the symbols of man’s life, of his existential problems faced daily with suffering and courage. The type of figuration very important for all his ideology is the figure of the woman : the figure that generates life, symbol of its preservation and perpetuation ; the figure of love and tenderness ; the symbol of the weakest and most tenacious set: A characteristic of Marciano’s work is that of communicating emotions as a longing for the freedom and joy to which we all tend. The sculptures are born from everyday and simple situations that, through a serene reflection, rise to the symbol of all humanity.
G. Perciasepe – Art Critic (1991)

A rigorous and exemplary technical teaching, a work of rarefaction of the constitutive elements of language and selection of the most authentic expressive values have provided Claudio Marciano with the ideal means to give body to a painting with very complex motivations and rich cultural moods. An innate tendency to compositional harmony, to the ‘balance in the organization of the sign, and the fields in space, did not prevent him from acquiring the very topical reasons demanded by the existential condition of man involved in the incalculable rhythm of life today. He was able to look at the experiences that led to the Picassian iconographic revolution without being influenced by it but drawing the stimulus for the autonomous liberation of his own language. From the perspective of the personal reflux that extreme conditions have on individuals, Marciano relives the peculiar motives of our time, but at a level where fantasy and reality coexist on the common level of poetry, in a sharp exaltation of the narration and therefore of communication, in an agile and yet strongly committed style. Marciano’s work is therefore a message whose explicit connotations make evident the communicative function of themes relating to the most authentic impulses of the ego.
G. Malaspina – Art Critic (1990)

Attentive observer of the most significant manifestations of contemporary existence, Claudio Marciano analyzes extensively the difficult and complex relationship between man and environment, of which he emphasizes and highlights in particular the articulated structure, often identified by the artist as an eternal unsolvable enigma. The surrounding reality, which seems to dominate in his works, dominates the scenes in which man is in turn inserted with obvious difficulty given by a dialectical position with respect to the biological rhythms of contemporary civilizations in which he finds himself involved despite himself. In such contextuality, therefore Marciano interprets the problems of his time through a visual and conceptual synthesis of the real data, in which the expressiveness is wisely conducted through a sublimated sequential symbology that transcends and prevails the purest allegory reconnecting with an infinite phenomenological spatiality.
L. Piroli – Art Critic (1988)

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