Cavallo e cavaliere, composizione, 1955/56
57.4 x 46.6 x 32.2 cm
22 5/8 x 18 3/8 x 12 5/8 in
Edition n. 2 of 6 + 3AP; 9 examples: Museum Marino Marini, San Pancrazio, Florence; Miyazaki Prefectural Art Museum, Miyazaki, Japan; Tel Aviv Museum; 6 in Private Collections.
Private collection, Italy
E. Trier, The sculpture of Marino Marini, London, 1961 (another cast illustrated p. 128).
Exh. Cat., Rome, Palazzo Venezia, Mostra di Marino Marino, March-June 1966, n°51 (another cast illustrated).
Hammacher, Marino Marini Sculptures, Painting, Drawings, New York, 1970 (another cast illustrated pl. 234).
H. Read, P. Weldberg, and G. di San Lazzaro, Marino Marini , Complete,, Works, New York, 1970 n°336 (another cast illustrated p. 373).
C. Pirovano, Marino Marini, Scultore, Milan, 1972, n°342 (another cast illustrated figs. 130-132).
Exh. Cat., Tokyo, National Museum of Modern Art, Marino Marini, April-June 1978, n°71 (another cast illustrated p.116).
Exh. Cat. Osaka, Contemporary Sculpture Center , Marino Marini, September 1982, n°4 (another cast illustrated).
C. Pirovano, Marino Marini, Catalogo del Museo di San Pancrazio di Firenze Milan,1988, n°160 (another cast illustrated p. 171).
G. Iovane, Marino Marini, Milan 1990, (another cast illustrated p.95).
Exh. Cat., Bologna, Forni Galleria D’arte Marino Marini, October 1990 (another cast illustrated p. 35).
M. Meneguzzo, Marino Marini, Cavalli e cavalieri, Milan, 1997 n°88, (another cast illustrated p. 227).
Marino Marini Foundation, Marino Marini, Catalogue Raissonè of the Sculptures, Milan, 1998 n°410b (another cast illustrated p. 248).
Rome, Palazzo Venezia, Marino Marini, March-June 1966, fig. 51
Tokyo, The National Museum
of Modern Art, Marino Marini,
April-June 1978, n. 71, p. 116
Sculpture Center, Marino Marini,
September 1982, tav. 4,
Bologna, Forni Galleria D’Arte, Marino Marini, October1990, p. 35
The myth of the rider as somebody who takes strength and “impetus” from animals, was, as early as the 1930s, one of the subjects that most absorbed Marino Marini’s research and art. As the years progressed, Marini changed his approach to this theme: in the years preceding the war Marini created peaceful figures, secure in the balance between horse and rider. This balance would be upset in the years after 1947, when Marini chose a more dramatic approach, breaking completely with the settled rhythm of earlier work and giving way to the Miracoli of the 1950s in which the rider is in the process of being dramatically thrown off the horse.
Nine bronze editions of the present sculpture are in Museo Marino Marini (Florence, San Pancrazio), Miyazaki Prefectural Art Museum (Miyazaki, Japan), Tel Aviv Museum of Art and private collections. A plaster edition is in the Fondazione Marino Marini (Pistoia, Palazzo del Tau).
The artwork described above is subject to changes in availability and price without prior notice.
Where applicable ARR will be added.