Maurizio, a biologist, is a Professor of Cetacean Monitoring Techniques in the Department for the Study of the Territory and its Resources (DIPTERIS) at the University of Genoa. From 1995 to 2001 he was scientific curator at the Oceanography Museum of Monaco. A designer and sculptor of marine animals, he has long experience as a university lecturer, and in his lessons he has always sought to inspire curiosity among students, providing diverse classes, going beyond the subject in question and bringing together art and science.

anatomy lessonmaurizio teaches at the open sea

Younger generations will see ichthyology expanding considerably, with zoology and systematics giving way to new research topics such as physiology, cellular biology and gradually ecology and ethology. Design, which nowadays seems to occupy a smaller space as it is supplanted by photography and cinema, opens up new horizons. Scientific illustration remains a privileged medium, thanks to its precision and the possibility of drawing attention to the important details, it is a fundamental instrument for teaching, general studies, guides and works aimed at the wider public. The works of Tortonese (1911-1987) represent one of the best examples of the development of scientific design. Tortonese used his designs for zoology courses at the University of Turin and in his own publications on Mediterranean fish. His style would set the course for modern ichthyological illustration. Naturalistic design is developing and painters are drawing inspiration not only from nature but also from aquariums. Among these are Haeckel (1834-1919) and Méheut (1882-1958). Underwater activities offer a new vision of these animals and even game fishing has its designers, including Stick (1884-1966), Osti (1959) and Nakanishi (1929) with the latter specialising in the old-fashioned technique of gyotaku, printing onto fabric or paper. Nevertheless, both scientific and naturalistic design continue to play their role alongside popular science and scientific knowledge, with designers and illustrators such as Hìsek (1931), Opic (1933), Testa (1937), Cafiero and Scolavino (1945), Maugeri (1952), Chris Mari van Dyck (1983), Jill Ruse, Swainston, Suzuki (1942), Demma (1955) and Wurtz (1950) producing texts, magazines and scientific articles that contribute to the spread of a new awareness of nature and the creation of a new generation of scientists. (M.Wurtz, 2003 taken from Mediterraneo d'arte).

feeding a ble whaleodontocete fossile

Maurizio has made all of his scientific and artistic works available to Artescienza.

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