Padre Armando Pierucci, convento S.Caterina di Fabriano, for the inauguration and benediction of the "San Francesco", 10 February 2019
Maurizio Meldolesi è un giovane pittore formato sullo studio dei grandi Maestri del Rinascimento e del Barocco. Mettendo al centro un disegno d’impianto realistico, Meldolesi arricchisce l’opera d’arte di richiami e allusioni che costringono alla riflessione. Il suo San Francesco è in estasi, sollevato da una nuvola. Ed è anche sofferente per la sorpresa e il dolore causati dalle stimmate, che gli hanno già ferito le mani. Al tempo stesso il pittore evoca alcuni episodi della vita del santo. La costruzione, in questo caso il Palazzo comunale di Fabriano, ricorda quel palazzo splendido e grande, ornato con armi da guerra, che gli fu mostrato dall’alto, mentre una voce chiedeva chi fosse meglio servire, il Padrone o il servo. Anche i diavoletti, appena visibili nelle tenebre, ricordano quando il beato Francesco vide sopra la città dei demoni esultanti e ordinò al suo compagno di cacciarli. “Quello, obbedendo, gridò; i demoni fuggirono e pace fu fatta”. Aldilà di questi suggerimenti, resta il fatto che si tratta di un Francesco sofferente. Più che appoggiato in terra, il malato è sospeso sopra una nuvola, mentre il dolore gradualmente gli imprime le stimmate. Tuttavia, è un dolore che gli viene da una colomba, candido simbolo di pace; ferisce, sì, ma insieme completa di dipingere un’aureola di santità intorno al capo del Santo malato.
Paolo Sabbatini, Director of the Italian Cultural Institute in Cairo and Cultural Counselor of the Embassy of Italy, for the solo exhibition "Sacred portraits", 8 February – 5 May 2016
The painting of the young Maurizio Meldolesi is particularly appreciated for having achieved, in relatively early, a style immediately recognizable, consisting mainly in the ability to give life to the classical tune compositions with a marked taste for synthesis and for the harmonious balance between the parties, with figures marked by an incisive outline and transparencies and color illuminations refined, as well as the effective physical and psychological identification. The figures are placed within landscaped backdrops ample breathing space and the atmosphere clear and bright, immediately recognizable as the sweet Marche valleys, so celebrated by Raphael onwards. Coptic Orthodox Cultural Center, Cairo, Egypt
Resto del Carlino - July 21, 2014 - Past and modernity in the works of Meldolesi.
It was inaugurated in Monte San Martino the exhibition "Past Perfect" by Maurizio Meldolesi, edited by Eleonora Sarti. It will remain open until 20 September and is made up of thirty works that reinterpret techniques, styles and iconography of the past in the contemporary. The exhibition is part of the logic of the air museum, then the exhibition space expands to the whole village, the Art Gallery at the Church of Grace. The work of Meldolesi were already exhibited in galleries in Brussels, Hong Kong, Rome and in some Italian Cultural Institutes abroad. In his oil paintings echo the themes of Caravaggio, Michelangelo, Raphael and the atmosphere of the Flemish painters, the inspiration behind the interest of Meldolesi painting techniques. The inauguration on Sunday was greeted by a large crowd, made up of Italians but also foreigners, with a strong British participation. (Civic Art Museum, Monte San Martino)
Elizabeth Lau for the group exhibition presentation "Stillness", State Of The Arts Gallery, Hong Kong - june 25 / July 31, 2012
The dark and empty background of Maurizio Meldolesi’s work mirrors the undisturbed intrinsic essence of the subject without time frame or locational boundary. (State Of The Arts Gallery)
Stefania Severi for "Planet Paper in the third mllennium" exhibition catalog, National Museum of Popular Arts and Traditions – November 10 / December 21, 2011
Maurizio Meldolesi, proposing his "Vergine Annunciata", an oil on paper with "chewed paper" frame, emphasizes the extremely flexible use of paper that becomes ground for oil panting and wood-like material for the frame. It's also a tribute to tradition in the revival of classical iconography and decorative elements. (National Museum of Popular Arts and Traditions, Rome)
Peter Dedroog for the personal exhibition “Contrasti”, WOW Art Gallery, Brussels – August 27 / September 11, 2011
His work is remarkable for its contrasts. "Chiaroscuro", color and the use of forgotten techniques give a Pytagorean-math flavor to his work. However, his classical work has an higher ambition than the mere imagination of "reality". It is not simply the manifestation of a technique, but the expression of his reflections through brushstrokes of color. (WOW Art Gallery)
Silvia Bartolini for “InOPERA – Sulle orme di Padre Matteo Ricci” exhibition catalog, Museum of Palazzo Buonaccorsi, Macerata – July 22 / October 24, 2010
Actually as self-taught painter, Maurizio Meldolesi became an artist for passion, beginning a research on traditional art based on the different values of an image. He actually takes a way in which the focurs in the experimentation on expressivity of color combination (the oil painting is his main technique) and drawing centrality (realistic style), from the reflection on the great age of Dutch painting of the seventeenth century (through which he approached painting) and in particular on the character of Caravaggio. This meditation, in the painting "Auditio", with clear and bright tones characterized by the combination of primary colors, leads to appreciable contrasts in light and shadow. In this painting, the light creates the effect of plastic volumes in which the figures, in the manner of ancient portraits, detach themselves from the dark background, that - contrary to what happens in the latest portraits of Meldolesi - takes the denotation of a starry sky that alludes to the cosmic space. (Museo di Palazzo Buonaccorsi)
Silvia Carminati for the personal exhibition “Out of the shadows”, Palazzetto delle esposizioni (Rinascita), Ascoli Piceno – October 24 / November 6, 2009
He is a tireless experimenter and he is searching and challenging his limits in drawing and painting techniques. He was fascinated by a journey in Holland and seventeenth century Dutch artists inspired him. The most important one is Rembrandt, whom he admires the ability to create a scenery, a story and a particular atmosphere. Indeed in his early works, Meldolesi focuses on the scenery, the background of the subject, then he decides to leave this point of view when Caravaggio becomes his main model, whom the principle to be close to reality becomes his own principle. After that, the background and not the scenery is the most important part of the painting, the dark background, the darkness, from where the picture with strong contrast between light and dark emerge with no time, place or age. The protrait is the focus of the artist: every subject is real, it is a person known by the painter and he tries to capture sensibility, every wrinkle, expression and feeling as an explorer and a kind psychologist. It is very difficult for Meldolesi to separate himself from his canvases, as a father with his children, because of the passion he put in the study of every detail. He is able to be so close to reality, so you can see every brush stroke and every different shape of color in his paintings. In particular, you can sense every emotion in the story told by the faces and you can see different expressions simply watching closely or from afar.