Sassone at Ferrari-Carano Estate

Marco Sassone (left), recently visited Don and Rhonda Carano at the Ferrari-Carano estate in Healdsburg, CA to autograph bottles of Tresor featuring the artist's label with the painting, Tramonto, here pictured in Don's office.

Waterfront Unveiled

"Waterfront"

Marco Sassone has been commissioned by the Bellagio on Bloor to create a major art work for the newly renovated lobby. Waterfront will be unveiled at a special reception in the lobby Thursday, October 16, 2008, at 7 pm.

Check back soon to see Waterfront revealed.

Ceramic Work

The artist produces a small number of original works on ceramic. While ceramic art is traditionally decorative and descriptive, Sassone strives to paint as he does on canvas. After a period of experimentation in which he mastered the technical aspects of the medium, he felt the same urge that had given life to his paintings, with the added appeal of the three dimensional quality of the bisque.

T-Shirt Planned

The National Coalition for the Homeless in Washington, D.C. will be relasing a special edition t-shirt featuring portaits from Marco Sassone's landmark exhibition, Home on the Streets.

Please contact the studio for more information.

Your favorite Sassone work now available as a Giclée print

Sassone paintings are available in limited edition Giclée reproductions.

Telegraph Hill, 1982©Marco Sassone

Available directly from the studio in limited edition, and printed on archival paper, each Giclée print is numbered and signed by the artist.

Letter to the Editor of Art in America

Clemente's Kalighat Crimes

Courtesan Dressing Her Hair (ca. 1900)

The following letter was published in the January 2007 issue of Art in America

Dear Editors:

Regarding the Letters to the Editor, “Clemente’s Indian Sources” and “Brooks Adams replies” Art in America, Sept 2006, pg 33.

“Someone did give him a catalogue about them once…” well, obviously that is where Francesco Clemente found the images for his paintings.

Vinod Dave did an excellent job uncovering Clemente’s Indian sources; he did what everyone else was unable to do. I am at a loss, however, to understand why the artist did not disclose his working “appropriations” to Brooks Adams. Clemente tells Adams about his working procedures in great detail at his New York Studio, but chooses to omit his Indian sources. The mention of the Self Portrait as Bengali Woman in the feature article, Demon Iconographer, (Art in America, May 2006) where Brooks noted that this work by Clemente was “at the top of his game” is amusing when one considers that the image for this painting was in fact appropriated from the Kalighat school of painting.

Once these interesting sources were discovered by Dave, Clemente still chooses to avoid the subject and elects to tell us, among other things, that “Salman Rushdie never mentions the connection in his Gagosian Gallery catalogue essay.” What does this comment really mean? That Rushdie needed to do research on Clemente’s work to ascertain that the work was authentic? Or that Clemente expects the readers to suspend the use of their reason when viewing the Kalighat paintings? Furthermore, when confronted with these sources, whose images are very well known to Clemente, the artist seems to assume a position of memory failure, some sort of denial that proves to be irritating for the reader.

When one considers the facts of this matter, Brooks Adams, Salman Rushdie and the Gagosian Gallery all failed in making the connection between Clemente’s work and the Indian paintings. We can categorize them as simply ignorant of the existence of these images from the Kalighat school. With regard to the artist however, who admittedly knew of the Kalighat school, his failure to credit them is totally unacceptable.


Marco Sassone

Ferrari-Carano Trésor

Marco Sassone's original serigraph, Tramonto, 1993 is featured on the label of Ferrari-Carano's special release Trésor. This limited release wine is a blend of five Bordeaux varietals and is available online from the Ferrari-Carano website.

Tramonto, 1993 is available in a limited edition of 100, plus 10 Artist's Proofs and 10 impressions numbered in Roman Numerals. Tramonto is hand printed on Coventry rag paper in 95 colors, numbered and signed in pencil. This edition is available exclusively from the Marco Sassone Studio.

The image size is 30" x 36"

$2500.00
Please contact the studio directly for more information

From the Archives

The artist, center, in a group picture, 1960, Italy.

Serigraphs on the Web

Marco Sassone Studio has published and distributed the artist’s original prints in limited edition from 1975 to present. The prints were created by the artist in collaboration with selected master printers.

Chapel at Tiburon, 1987 33 x 26 ©Marco Sassone

We have received many complaints from clients who have purchased prints online, at reduced prices. Often, these prints are defective, damaged, unsigned, or even reproductions passed off as original prints. Please be wary, and do your research before you buy.

These problems can be avoided by contacting dealers authorized by the artist, such as Pasquale Iannetti Art Galleries, or by contacting the Studio directly. The Marco Sassone Studio can often locate pieces that are rare or sold out.

Marco Sassone: Toronto

Consul General of Italy Veronica Ferrucci and Consul General of the United States Claudia Baker are attending the reception for artist Marco Sassone at Odon Wagner Contemporary, Thursday April 3 from 6 to 9 pm. Also attending the opening are representatives from Toronto City Hall.

This new series of work, Toronto, portrays the urban landscape of the city that first engaged the artist’s imagination when he moved here from California. Attracted always by space Sassone paints these cityscapes from high-rise vantage points and from a street perspective, characterized by converging lines that visually pull the viewer into the work. Jonathan Goodman, art critic for Art in America, writes for the exhibition catalogue, “The painter remains a visionary, describing tall buildings and merging highways as he forges a rapport with Toronto. Sassone is profoundly interested in rendering a nearly mythic ambience, whose experience borders on the sublime.”