"In the last thirty years we had three major horse farms. The first is the Picasso's one... Another team, that of Marino Marini, sculptor... And the third farm belongs to Aligi Sassu. Horses galopping, rampant, flying, mostly runaway, full of creativity, elegance... The idea-horse left to itself in pawing phantasmagoria in the Mediterranean sunshine, on beaches and lonely cliffs. Horses who were wind gusts, tantrums of love, flames, swallows, strange creatures, more like a dream than a chapter of natural history". (Dino Buzzati, Corriere della Sera, Milan, 22 March 1965)
Twenty years ago Majolini combined the Franciacorta to the world of art for the first time: Aligi Sassu introduced this combination creating a bronze sculpture, the Cavalli innamorati, placed in a dominant position of the entire valley and of its vineyards.
Starting from 1995, the Franciacorta Majolini Pas dosé has been dedicated to Sassu, the uncompromising and rigorous sculptor who first signed as an artist the winery's spaces. A wine with a distinctive character seals his love for the land of Franciacorta and the friendship with the Maiolini family.
In May 2007, l'Associazione Culturale Aligi Sassu of Besana Brianza organized an exhibition entitled La Vendemmia ('The Harvest'), showing unpublished works belonging to Maiolini family. For the occasion, Ezio Maiolini presented the IV number of the Quaderni di cantina, a collection of limited edition books (Ezio Maiolini Editore) dedicated to the artist died in Majorca in 2000, which tells the protagonists and the meetings that shaped the history of the Winery and his territory.
The exhibition presented watercolors, sketches and drawings realized during the meetings with the Maiolini family. Young girls and boys with bunches in the hands and flowers in the hair, the Ritorno dai campi with full baskets, the grape crushing operations, Dioniso, the Bacchino seduto, the Vendemmia ('harvest'), the Argonauti, the Menadi... The Sassu's figures are strong and dynamic, made with a synthetic stretch that takes in little account the prospective space in favor of the organic composition. The aim is to establish a relationship with reality and to translate it into colorful impressions: Sassu faced the theme of the physical fatigue, symbol of the everyday life-and-death struggle, and at the same time he expressed dreamy passions and imaginary visions.
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