"More than the idealized image of official art, it is the caricature which, through a number of drawings, engravings, lithographs, destined for the general public of newspapers or to small circles of amateurs, gives us the traces of a process of emancipation that, starting from the eighteenth century, the social life of women is also increasingly interested. If in large part this production flows into the mare magnum of political caricature - in particular when it concerns public figures such as queens, princesses and favorites - in part it is inserted, modifying it and renewing it,
in the tradition of the theater des moeurs , which in previous centuries had nourished the portrait of the virtues and vices of women: in a wealth of types and iconographic themes that found its counterpart, or perhaps its source of inspiration, in popular literature and in the comedy of manners ... "
Luciana Zingarelli, 1986
"Centrosei" Gallery, Bari, March 1985
After various pictorial and sculptural experiences, starting from the mid-seventies Franca Maranò (Bari, 1920) revises the terms of her previous researches, driven by the need to operate without any more ties of relevance with the codes of the already done and with the means traditional painting. He therefore makes use of the needle, the thread and the canvas, and continues his work mainly with these new means, out of the need for a creative freedom aimed at recovering meanings that seemed lost. Over time his production acquires a greater human density and, due to a process that has developed from the inside out, his work becomes wearable and assumes, with the realization of the "mental habit", a specific sign of behavioral identity . In addition to these researches, Franca Maranò is interested in sculpture and ceramics, carrying out works - even of large dimensions - on behalf of public institutions and bodies and for private collectors.