Private Collection

Hammacher, Marino Marini Sculptures, Painting, Drawings, New York, 1970, tav. 227;
H. Read, P. Weldberg, and G. di San Lazzaro, Marino Marini, Complete Works, New York, 1970, p. 224, c.s.n. 288; .
Pirovano, Marino Marini, Scultore, Milan, 1972, c.s.n. 294;
Omaggio a … 1974, p. 65; C. Pirovano, Marino Marini, Milan, 1988, fig. 132 p. 144;
M. Meneguzzo, Marino Marini Cavalli e Cavalieri, Milan, Skira 1997a p. 222 cat. N. 68;
Valerio Terraroli (ed.), Marino Marini. Catalogo ragionato della scultura. Milan: Skira, 1998, pg.251, ill. 355.

Piccolo Miracolo marks the beginning of a new series of equestrian monumental statues developed in two alternative typologies; one with the horse rearing and one with the horse plunging downwards with the rider being thrown backwards dramatically by his steed. This sculpture, as alluded to its title ‘Piccolo Miracolo’ can be construed to have a reference to the Conversion of Saint Paul, where the Saint is similarly thrown from his horse. By exasperating and distorting the animal’s features, Marini produces a representation of tragedy that has been consumed, where the two dissolved and lacerated figures become almost unrecognisable. The surfaces are sharp, the harsh lines cleave the space violently, so that nothing seems to have survived of the harmonious relationship between man and nature. This is an example of Marini’s extreme experimentation with the values of form and void.

Marini created seven bronzes from the same model. One resides in the Museo Marino Marini in Florence and others are in private collections.

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