Horse in the Works of Maestro Marino Marini from “IPPOS – First Novecento Italian” Exhibition “The Horse between the Art of Myth and Legend” Besana in Brianza – 6 October / 18 November 2007, courtesy of the Marino Marini Foundation, which we thank.
“It is passion, anxiety, love, but also suffering, disgrace or fantasy: if they stay inside you are hurt, but if you drain them in a sculpture, they release and give us the chance to renew ourselves forever , and every day you are like new. (Marino Marini)
Marino Marini – Pistoia 1901 – Viareggio 1980
The universal message of Marino Marini is “capable of expressing such deep feelings to overcome geographical, historical and social boundaries” (Marina Marini). In Sculpture and Painting, four thematic areas were of decisive significance for him: the Portrait, the Pomona (naked woman), the Knight and the Horse, the Giocolieri (dancers, acrobats).
The horses and riders gave Marino Marini international fame in the 1950s.
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The Horse in the Works of Marino Marini: He was a great witness to his time. In his short autobiography he wrote “… The same subject gives the sense of climate and agitation. He is born happy, calm and starts to shake. They bring atomic bombs and begin to destroy … Humanity is afraid of this. The artist feels it a hundred times more and multiplies it more in his brain and hence the artist becomes tragic. So my last shapes are sectioned shapes, they are the architectures of a huge tragedy “
For Marino Marini the “Horse” – which transmits strength and courage to the knight – is that “figure” he learned to love after a trip to Germany in 1943. It was where the artist was impressed by a magnificent equestrian statue in the cathedral of Bamberg.
The Horse in the Works of Marino Marini: “I always wanted to move to the north which for me is the positive pole as I am impregnated with of the south and Italic values. I needed the contrast, “so in one of his sentences is the” direction “of his art.
The contrast that emerges in all its fascinating beauty of the figures of her stylized horses, seemingly impoverished by particulars, enriches and strengthens that “force” that comes from matter and a personal personality intuition.
He is still the sculptor who states, in 1972: “My equestrian statues express the torment caused by the events of this century. The unrest of my horse increases to every new work, the rider is increasingly exhausted, lost dominion over the beast, and the catastrophes he succumbs to resemble those that destroyed Sodom and Pompeii. I aspire to make visible the last stage of the dissolution of a myth, the myth of heroic and victorious individualism, of man by virtue of humanists. My work of recent years does not want to be heroic but tragic “
The Horse in the Works of Marino Marini: His knights have arms “(…) wide open and aimed at dismantling the space unit and countering the monumental strength of the beast. That solidity would soon be corroded, at first with the height that the horse assumed in several specimens, so with the intent of a more and more accentuated stylization to make the members limbs (…) “(Giovanni Carandente) ( MZ).
Finally, we have prepared for you a visit to a Virtual Museum where you can calmly and calmly admire the work of the Maestro exhibited at the exhibition “IPPOS – First Novecento Italiano” The Horse between Arte Mito e Leggenda “. Good vision.
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