Born in Milan the 19th April 1934, Mario Raciti started painting very young, adding to painting a great interest in poetry and in the study of music. He graduated from law school, but after two years of legal practice, he decided to devote himself exclusively to painting. Participate in the San Fedele Prize in 1963 and in 1964, the year of his first solo show at Gallery Il Canale in Venice. It is on this occasion that he creates the first precious contacts: with Marchiori, which from now on will follow his work, with Valsecchi, full of encouragement, with Modesti, Sienese, Vivaldi. From 1968 to 1994 he collaborated with the Galleria Morone 6 of Milan, in a series of solo and collective shows in Italy. Outside the new representation of the sixties, his first paintings have emblematic titles: Faro, Giostra ,Tunnel, Spiritelli, Viaggio, even though all his next production will be directed mainly around the nucleus of significant research. From 1969 to 1983 born Presenze-Assenze, works in which a progressive rarefaction is apparent in the image which becomes more and morea web of colored or white shadows, while the space becomes the real protagonist of the canvas. Around 1983, away from the transavanguard and derivatives, Raciti inaugurates a new "cycle": Mithologie. Here, the desire for expression, not bound to a purely formal research, joins the firm belief that only the sign can express the "myth", i.e. that image acting on unconscious levels and that, thanks to the ambiguity, to the allusiveness of the sign, can re-emerge as a profound truth, as a "dream" that comes from an"elsewhere", which is the the one of the human interior depth. An interior that, in the case of Raciti, is intimately linked to the pictorial re ¬ search, demonstrating the interro ¬ gation of the poet before the unfathomable mystery of the existence. Numerous in recent years, his participations in solo and group exhibitions, in 1986 at the Venice Biennale with a personal room and the Quadriennale in Rome, while in 1989, he sets up a solo exhibition with 45 works at the Padiglione d’arte Contemporanea in Milan. Since 1993, a new cycle of works, Misteri, continues and leads to more extreme results the results of the previous route. The presence of figures in that mythologies cou ¬ld emerge, thanks to a sort of ancestral memory, here are loaded with a disturbing value, turn into glimmers of light and color, signs that in their melancholy appearance , allude to the limit of the knowable to substantial mystery that surrounds the human psyche. Since 1998, adds to painting on canvas, pastels as exclusive technique. A technique extremely convenient and in line with the research of the Misteri cycle: in fact the pastel, allows to "chalk" the image, move it away and at the same time to make it emerge from a depth that evokes somewhere else, a stranger, in which the image as a vague memory so dilated and deep, that it cannot appear completely.