Maurizio begins painting. The first approaches to painting are done in the studio of his father, Gianfranco Biagini.

He paints his first landscapes from the reality-influenced post macchiaiola and some seascapes where you can already see his true melancholy.

At only 17 years, he turns his attention to American POP-ART and engraving. He uses the technique of lithography to engrave the first faces and uses quotes from great people like Andy Warhol and Patty Smith.

His work begins to act as a work of denunciation: solitary figures, unarmed men, prostitutes waiting for clients, drunks, lost souls, and children. It portrays the weak, using canvases filled with color or monochrome. He attends the Academy of Fine Arts in Carrara, which he later leaves. At that time, he engraves a series of 12 etchings that depicted people in poverty, women full of loneliness and children.

He starts working on large canvases for the first time . The human figure almost transferred from the canvases. The subjects are clearly figurative. They offer the viewer his attention to the “New Figuration”. At this time, he also started some research on what materials to use, sand and tar paper. During this period he works on many paintings.

A new cycle and a search for an itinerary. Now his focus shifts definitively to the transavantgarde and the Italian POP. In previous years, he had visited various exhibitions of these types. But it is only at the beginning of ’96 that Maurizio adheres to this current style. His research is geared mostly to appreciate the materials first and then the speed of execution. There, it encloses the two main qualities of Maurizio: “gestures” and a huge “capacity for synthesis.”

His experimentation leads him to also try painting animals. He paints bulls and eagles.

It is from this year on that the work of Maurizio begins finding a continuity that he never had, in fact, he begins to paint in cycles, moving the centrality of his work, that is, random quotes from the past, to now become fundamental, necessary, pictorial inspiration almost goes to the second floor, but on the canvas what appears at first sight is just drama (daily) that Maurizio goes searching for. Maurice tries to put himself on a higher level than the material, stark essentiality of good work.

He emphasizes his desire to permanently denounce and his desire to consolidate a pictorial identity comes true. And so, it makes Maurizio the artist, as more original and independent of the new Italian pictorial landscape.

The name of Maurizio is also appreciated in the international arena. The first exhibitions begin abroad.


Among the many awards received by Maurizio are awards for artworks which have been placed in local and national art galleries. Just to mention a few: Rome, Viareggio, Cascina, Castiglioncello, Lucca, Donoratico, Campiglia, Avventurina, Torrita (SI), Camaiore, Lastra a Signa, Arezzo, Sinalunga, Carrara, Gallarate, Ravenna, Cesena, Forlì, Larciano (PT).
Among them, the first awarded in 2000 in Bolgheri, Bolgheri in 2003, Venturina, Lastra a Signa, Perugia, Grosseto, Province of Livorno Award Rotonda 2010 and the 1st prize Rotonda city of Livorno in 2011.
Paintings of Maurizio have been purchased by collectors both in Italy and abroad, his works are found in Milan, Parma, Florence, Siena, Rome, La Spezia, Alessandria, Treviso and in particular in the provinces of Livorno and Pisa. Abroad, he works are in private collections in France, New Zealand, Scotland, the USA, Germany and Switzerland.