Piccola Giuditta, 1944
Pistoia 1901 – 1980 Viareggio
65.1 x 35.1 x 20.5 cm
25 5/8 x 13 13/16 x 8 in.
Edition of 4; 2 held at Marino Marini Fondazione, Pistoia (1 edition post 1980); 2 in Private Collections
Vitali, Marini, Quaderni d’arte n. 1,
Florence, Edizioni U. 1946, tav. 58; H. Read, P. Weldberg, and
G. di San Lazzaro, Marino Marini, Complete Works, New York, 1970,, c.s.n. 217; ; C. Pirovano, Marino Marini, Scultore,
c.s.n. 225; C. Pirovano, Marino
Marini, Milan, 1988,
fig. 101 p. 114; C. Pirovano, Marino
Marini, Museo San Pancrazio, Milan, Electa 1990, p. 55; Sam Hunter, Marino Marini Sculptor,
New York, Abrams Inc. 1993,
pp. 146-149; Marino Marini, Catalogo
ragionato della scultura, ed. Valerio Terraroli,
Skira, 1998, pg. 86, ill. 238B.
The National Museum of Modern Art, Marino
Marini, April-June 1978, n. 41, p. 92; Siena, Palazzo Pubblico, Marino Marini, May-July 1982, tav. 14;
Venezia, Palazzo Grassi, Marino Marini –
Sculptures, Paintings and Drawings, May-August 1983, cat. N. 56 p. 119;
München, Alter Herkulessaal, Marino
Marini (1901-1980), May- April 1984, tav. 130; Roma, Villa Medici, Marino Marini – Antologica 1919-1978,
March-May 1991, p. 70; Tokyo, Kamarura Gallery, Marino Marini Part I and II, 1992, s. 3; Wien, Haus der
Kunst, Marino Marini, May-September
1995, tav. 75.
This Piccola Giuditta belongs to the series of elegant statues modelled on the example of classical and medieval sculpture. In this period, Marini found a renewed interest in Gothic and early 15th-century sculpture and utilised the important expressive lesson of the masters of the past for the purposes of monumental solidity and emotive power. Figures such as the present work were conceived in the tradition of antiquity but implemented with a different, modern feeling: an intelligent balance between sensuality and stylization. By experimenting with his figures’ poses, Marini aspired to the “architectonic realization of pure forms in space”, reducing the volume to its absolute essentials. A pictorial parallel of Marini’s geometrical structures can be found in Giorgio Morandi’s Still Lifes. Like Morandi, Marini thinks in pure forms solidly anchored in a balanced conception of plastic volumes and emotional tension.
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