Pistoia 1901 – 1980 Viareggio
73 x 71.5 x 25.2 cm
28 47/74 x 28 5/32 x 9 59/64 in.
Edition of 6; Two versions in Fondazione Marino Marini, Pistoia (1 example post 1980); 4 in Private Collections.
U. Apollonio, Marino Marini Sculptor, Milan, Edizioni
del Milione, 1953, tav. 25; H. Read, P. Weldberg, and G. di San Lazzaro, Marino Marini , Complete Works, New
York, 1970 0,
s.s.n. 123; C. Pirovano, Marino
Marini, Scultore, Milan, 1972,
c.s.n. p.88; M. Meneguzzo, Marino
Marini, Cavalli e cavalieri, Milan, 1997, pp. 74-75 cat. N. 16.
Valerio Terraroli (ed.), Marino
Marini. Catalogo ragionato della scultura, Milan: Skira, 1998, p.122 ill.
Palazzo Grassi, Marino Marini – Sculture pitture
disegni dal 1914 al 1977, May-August 1983, tav. XVIII cat. n. 39 p. 111
Munchen, Alter Herkulessaal, Marino
Marini (1901-1980), December-January 1984, tav. 10
Rome, Villa Medici, Marino Marini – Antologica 1919-1978, March-May 1991, p. 61
Tokyo, Kamakura Gallery, Marino Marini
Part I & II, s. 2.
Castel Ivano, Marino Marini, July-August 1992, p. 53
Paris, Galerie Philip, Marino Marini, October-December 1993, tav. 2
Arles, Musée Réattu et Espace Van Gogh, Marino
Marini – Sculptures et Dessins, March-June 1995, cat. s. 10 p. 52
Wien, Haus der Kunst, Marino Marini, May - September 1995, tav. 71
Tokyo, Station Gallery, Marino Marini. Sculptures, Paintings and Drawings,
October-November 1997, tav. 11 p. 33
In choosing the equestrian subject, Marini draws on a long-established tradition in the history of Western art. His rich compendium of reference images included Greek terracottas, Roman and Etruscan art. He was so deeply attached to his origins that he was convinced that he was somehow a descendent of the ancient civilisation of the Etruscans. In fact, he said: "Here the artistic past of Italy still penetrates our whole existence, because we live in the middle of works of art… my archaism, my Etruscans… there is no need to offer much of an explanation. My inner self was born here, in this region, and that is what my grandparents were. It is a culture that even today emerges from the soil and nourishes the people that still live there. I feel I am closely tied to my part of the world, to this popular feeling, that is in fact so archaic, alive and intelligent. It is in my blood, I cannot shake it off." These Etruscan origins can be found in People [Fig.1], his sculpture in terracotta of 1929, which he presented at the second exhibition of 20th-century Italian art. In contrast to his terracotta sculptures and his earlier representations of horses and riders, Marini’s horses of the 1940s are the embodiment of a new individuality. In the present bronze, the elegant naturalism and graceful contrapposto pose of the horse is reminiscent of classical art, whilst the monumentality of the body and the raw treatment of the surface indicate the artist’s interest towards new volumetric motifs.
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