If it is true that everything began with the spark of a goddess who transformed Chaos into Cosmos, that is to say the beauty which combines transcendence and immanence, then it is true to say that in Donatella Marraoni’s work there coexists a part of that spark which is the essence, the beginning and the continuation of her research. Each of her images is an ode to that femininity which mirrors Gaia, Gaea, Demeter, Cybele, Proserpine, Aphrodite. Each work of Donatella Marraoni is fixed on a support, which has the flavor of the type of surfaces levigated by wind and rain, the image of a warning bell which still rings in time, but that a patriarchal misogynist and masculinist mentality have hidden, muffled until making it silent. This is why her paintings, whilst being an example of specific knowledge of the techniques and restitution aesthetics of a work, are a real warning for the time in which man now lives and to the way he has been reduced to live. So it is then that her mottled surfaces and her beautiful women, from their assorted and thoughtful expressions, are genuine pleas to those archetypes that one should rediscover, meditated with the intention of involving the story of modern man. She uses cement as a support, but what is cement yet water and land which taking on form and new creation? What is the opera of Donatella Marraoni if not a return to the archetype of the feminine and allowing this to become a warning sign in the immanent present. The paintings by Donatella Marraoni are not only example of an artist who studied art and who inhaled the historicity of how to make an image, rather they are songs, short stories, tales and fables which surpass the emptiness of certain politics and certain economies. Her works are images from the imagination, dare I say shamanic ones, intended to be a warning for those whom still desire beauty and in the end they reunite the female transcendence which with a spark of the Feminine allowed Chaos to become Cosmos.