Marino Marini


Ausstellung / Exhibition / Exposición / Exposition


03.02.–06.03.2010

MARINO MARINI
(Pistoia 1901 - 1980 Viareggio)
"Horse and Rider"
Etchings and lithographs

Marino Marini,

40. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Il Cavaliere"

(Der Reiter)

Farbaquatintaradierung 1956/1976

68,8 x 50,5 cm Pr. 40 x 30 cm

sign. num.

Auflage 115 Exemplare

Guastalla A 186 pl. II

[18005]




We cordially invite you and your friends to our opening
on Wednesday, the 3rd of March 2010, at 6 pm


The gallery will be closed during Karneval between
the 11st of February and 16th of February 2010.


The exhibition will be accompanied by a fully illustrated catalogue
(80 pages, 59 images of works or art and 3 photos of the artist)
with a text from Janna Oltmanns, Galerie Boisserée (price Euro 15).



You also have the possibility to leaf through
the cataloque virtually by clicking here
(use the left mouse-key to leaf through online, or the right mouse-key to download).
The catalogue is stored as a PDF-file and can be read with the Adobe Reader.

To download the Adobe Reader visit the following address: http://www.adobe.de.



Please see all the works from the exhibition here:.

Werke / Works of art / Trabajos / Œuvres d'art

Marino Marini,

1. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Pferd und Reiter"

Tusche und Pastell auf Papier 1952

62,2 x 43,2 cm Abb. 59 x 41,2 cm

sign. dat.

[18447]


"In seiner wirtschaftlichen und militärischen Funktion durch die Maschine ersetzt – Motorflug, Automobil und Panzer – ist das Pferd schnell zu einem Luxussymbol geworden, wenn es nicht überhaupt schon für die meisten … den Charakter eines Mythos angenommen hat."
Marino Marini

Marino Marini,

2. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Piccolo Cavaliere" (Kleiner Reiter)

aus der Mappe "Marino Marini Gravures" (1970)

Radierung 1944/1970

53,5 x 43 cm Pr. 8 x 9,4 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 24 pl. I

[18161]

Marino Marini,

3. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Bagnati" (Badende)

aus der Mappe "Marino Marini Gravures" (1970)

Radierung und Kaltnadel 1950/1970

53,5 x 43 cm Pr. 33 x 24,6 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 28 pl. XI

[18170]

Marino Marini,

4. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Pomona" (Pomona)

aus der Mappe "Marino Marini Gravures" (1970)

Radierung und Kaltnadel 1950/1970

53,5 x 43 cm Pr. 35,5 x 29,8 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 30 pl. IV

[18164]

Marino Marini,

5. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Giocoliere" (Gaukler)

aus der Mappe "Marino Marini Gravures" (1970)

Radierung 1950/1970

53,5 x 43 cm Pr. 33 x 24,8 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 32 pl. XII

[18171]

Marino Marini,

6. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Giocoliere" (Gaukler)

aus der Mappe "Marino Marini Gravures" (1970)

Radierung 1950/1970

53,5 x 43 cm Pr. 35 x 29,3 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 33 pl. III

[18163]

Marino Marini,

7. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Giocolieri" (Die Gaukler)

aus der Mappe "Marino Marini Gravures" (1970)

Radierung und Kaltnadel 1951/1970

53,5 x 43 cm Pr. 35,6 x 29,9 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 35 pl. VI

[18158]

Marino Marini,

8. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Giocolieri" (Die Gaukler)

aus der Mappe "Marino Marini Gravures" (1970)

Radierung und Kaltnadel 1951/1970

53,5 x 43 cm Pr. 35,6 x 30 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 37 pl. II

[18162]

Marino Marini,

9. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Miracolo" (Wunder)

aus der Mappe "Marino Marini Gravures" (1970)

Radierung und Kaltnadel 1951/1970

53,5 x 43 cm Pr. 35,8 x 30 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 38 pl. XVI

[18175]

Marino Marini,

10. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Cavaliere" (Reiter)

aus der Mappe "Marino Marini Gravures" (1970)

Radierung und Kaltnadel 1952/1970

53,5 x 43 cm Pr. 35,3 x 29,6 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 39 pl. XIII

[18172]

Marino Marini,

11. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Cavaliere" (Reiter)

aus der Mappe "Marino Marini Gravures" (1970)

Radierung und Kaltnadel 1952/1970

53,5 x 43 cm Pr. 35,7 x 30 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 40 pl. XIV

[18173]

Marino Marini,

12. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Giocoliere" (Gaukler)

aus der Mappe "Marino Marini Gravures" (1970)

Radierung und Kaltnadel 1954/1970

53,5 x 43 cm Pr. 35,3 x 29,9 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 43 pl. XV

[18174]

Marino Marini,

13. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Composizione di Giocolieri" (Komposition mit Gauklern)

aus der Mappe "Marino Marini Gravures" (1970)

Radierung 1954/1970

53,5 x 43 cm Pr. 29,5 x 24,5 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 44 pl. VIII

[18167]

Marino Marini,

14. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Giocolieri" (Die Gaukler)

aus der Mappe "Marino Marini Gravures" (1970)

Radierung und Kaltnadel 1955/1970

53,5 x 43 cm Pr. 29,5 x 24,5 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 45 pl. X

[18169]

Marino Marini,

15. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Giocolieri e Cavallo" (Gaukler und Pferd)

aus der Mappe "Marino Marini Gravures" (1970)

Radierung und Kaltnadel 1955/1970

53,5 x 43 cm Pr. 29,4 x 24,5 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 47 pl. IX

[18168]

Marino Marini,

16. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Composizione" (Komposition)

aus der Mappe "Marino Marini Gravures" (1970)

Radierung und Kaltnadel 1956/1970

53,5 x 43 cm Pr. 29,8 x 24,9 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 50 pl. XVIII

[18177]

Marino Marini,

17. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Cavallo" (Pferd)

aus der Mappe "Marino Marini Gravures" (1970)

Radierung und Kaltnadel 1956/1970

53,5 x 43 cm Pr. 35,7 x 30,3 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 51 pl. XX

[18179]

Marino Marini,

18. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Composizione di Miracolo" (Komposition eines Wunders)

aus der Mappe "Marino Marini Gravures" (1970)

Radierung 1960/1970

53,5 x 43 cm Pr. 29 x 25 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 60 pl. XVII

[18176]

Marino Marini,

19. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Miracolo" (Wunder)

aus der Mappe "Marino Marini Gravures" (1970)

Radierung 1960/1970

53,5 x 43 cm Pr. 29,3 x 24,5 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 61 pl. XIX

[18178]

Marino Marini,

20. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Il Grido" (Der Schrei)

aus der Mappe "Marino Marini Gravures" (1970)

Radierung 1962/1970

53,5 x 43 cm Pr. 35,6 x 29,8 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 69 pl. XXII

[18181]

Marino Marini,

21. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Il Grido" (Der Schrei)

aus der Mappe "Marino Marini Gravures" (1970)

Aquatintaradierung 1962/1970

53,5 x 43 cm Pr. 25 x 29 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 71 pl. XXIII

[18182]

Marino Marini,

Marino Marini,

22. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Idea e Spazio"

(Idee und Raum)

Mappenwerk mit 12 Farbaquatintaradierungen 1963

53,5 x 40,5 cm x 5,5 cm

sign.

Auflage 128 Exemplare

Guastalla A 73 - A 84

[17553]

Marino Marini,

23. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Cavalli"

(Pferde)

Farbaquatintaradierung 1963

58 x 44,9 cm Pr. 39 x 29,5 cm

sign. num.

Auflage 57 Exemplare

Guastalla A 73 pl. I

[17556]

Marino Marini,

24. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Giocoliere"

(Gaukler)

Farbaquatintaradierung 1963

58,5 x 44,7 cm Pr. 39,5 x 30 cm

sign. num.

Auflage 57 Exemplare

Guastalla A 74 pl. II

[17566]

Marino Marini,

25. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Giocoliere"

(Gaukler)

Farbaquatintaradierung 1963

58,3 x 45,1 cm Pr. 39,6 x 30 cm

sign. num.

Auflage 57 Exemplare

Guastalla A 75 pl. III

[17564]

Marino Marini,

26. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Fossile Equestre"

(Reiterfossil)

Farbaquatintaradierung 1963

58,7 x 45 cm Pr. 40 x 29,7 cm

sign. num.

Auflage 57 Exemplare

Guastalla A 76 pl. IV

[17557] [18337]

Marino Marini,

27. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Devastazione e Ricostruzione"

(Verwüstung und Wiederaufbau)

Farbaquatintaradierung 1963

58,4 x 44,9 cm Pr. 39,6 x 29,8 cm

sign. num.

Auflage 57 Exemplare

Guastalla A 77 pl. V

[17565]

Marino Marini,

28. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Mattutino"

(Morgenandacht)

Farbaquatintaradierung 1963

58,5 x 45,1 cm Pr. 40 x 30 cm

sign. num.

Auflage 57 Exemplare

Guastalla A 78 pl. VI

[17555]

Marino Marini,

29. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Cavaliere Superstite"

(Überlebender Reiter)

Farbaquatintaradierung 1963

58,5 x 45,1 cm Pr. 39,8 x 29,9 cm

sign. num.

Auflage 57 Exemplare

Guastalla A 79 pl. VII

[17558] [18338]

Marino Marini,

30. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Sogno di Cavaliere"

(Traum eines Reiters)

Farbaquatintaradierung 1963

58,5 x 45 cm Pr. 39,5 x 29,9 cm

sign. num.

Auflage 57 Exemplare

Guastalla A 80 pl. VIII

[17560]

Marino Marini,

31. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Guerriero"

(Krieger)

Farbaquatintaradierung 1963

58,6 x 45,1 cm Pr. 39,7 x 29,8 cm

sign. num.

Auflage 57 Exemplare

Guastalla A 81 pl. IX

[17563] [18339]

Marino Marini,

32. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Spettacolo"

(Schauspiel)

Farbaquatintaradierung 1963

58,4 x 45 cm Pr. 39,5 x 29,8 cm

sign. num.

Auflage 57 Exemplare

Guastalla A 82 pl. X

[17562] [18340]

Marino Marini,

33. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Acrobati"

(Akrobaten)

Farbaquatintaradierung 1963

58,5 x 44,9 cm Pr. 39,5 x 30 cm

sign. num.

Auflage 57 Exemplare

Guastalla A 83 pl. XI

[17561]

Marino Marini,

34. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"In Segreto"

(Im Geheimen)

Farbaquatintaradierung 1963

58,4 x 45 cm Pr. 39,5 x 29,9 cm

sign. num.

Auflage 57 Exemplare

Guastalla A 84 pl. XII

[17559]


"Künstler sein ist einfach. Aber einfach sein ist schwer."
Marino Marini

Marino Marini,

35. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Giocoliere e Cavallo" (Gaukler und Pferd)

aus der Mappe "Marino Marini Gravures" (1970)

Radierung und Kaltnadel 1969/1970

53,5 x 43 cm Pr. 35,4 x 29,7 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 99 pl. V

[18165]

Marino Marini,

36. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Giocoliere" (Gaukler)

aus der Mappe "Marino Marini Gravures" (1970)

Radierung und Kaltnadel 1969/1970

53,5 x 43 cm Pr. 35,6 x 30 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 100 pl. VII

[18166]

Marino Marini,

37. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Composizione" (Komposition)

aus der Mappe "Marino Marini Gravures" (1970)

Radierung und Kaltnadel 1969/1970

53,5 x 43 cm Pr. 35,6 x 30 cm

sign. num.

Auflage 81 Exemplare

Guastalla A 101 pl. XXI

[18180]


"Um die großen Errungenschaften des frühen 20. Jahrhunderts zu übertreffen, ist wahrscheinlich Temperament mehr von Nöten als Intelligenz."
Marino Marini

Marino Marini,

38. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Miracolo"

(Wunder)

Farbaquatintaradierung 1970

61,8 x 56,1 cm Pr. 44,1 x 39,1 cm

sign. bez.

Auflage ca. 80 Exemplare

Guastalla A 104

[17568] [17567]


"Ich möchte der Menschheit ihre Form bewahren."
Marino Marini

Marino Marini,

39. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"La Sorpresa I"

(Die Überraschung I)

Farbaquatintaradierung, Ätz- und Kaltnadelradierung 1973

99,5 x 69,8 cm Pr. 64,3 x 48,8 cm

sign. num.

Auflage 87 Exemplare

Guastalla A 168 pl. III

[17608]

Marino Marini,

Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Omaggio a Michelangelo"

Farbaquatintaradierung 1975

79 x 59 cm Abb. 59 x 42,5 cm

sign. num.

Auflage 220 Exemplare

Guastalla A 183

[18550]

Marino Marini,

40. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Il Cavaliere"

(Der Reiter)

Farbaquatintaradierung 1956/1976

68,8 x 50,5 cm Pr. 40 x 30 cm

sign. num.

Auflage 115 Exemplare

Guastalla A 186 pl. II

[18005]

Marino Marini, aus

41. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

aus "Marino from Shakespeare I"

Farbaquatintaradierung und Kaltnadel 1977

76 x 56,8 cm Pr. 49,7 x 39,5 cm

sign. bez.

Auflage 145 Exemplare

Guastalla A 188 pl. II

[18292]


"Ich habe den Anfang jedes Gedanken in der Farbe gesucht, ob man das dann Malerei oder Zeichnungen nennen soll – das weiß ich nicht."
Marino Marini

Marino Marini,

Marino Marini,

42. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Triade"

(Triade)

Suite mit 3 Farbaquatintaradierungen 1976-1978

73,7 x 57,5 cm

sign. num.

Auflage 125 Exemplare

Guastalla A 195 - A 197

[17573]

Marino Marini,

43. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Immagine"

(Bild)

Farbaquatintaradierung 1976-1978

72,4 x 56,7 cm Pr. 50,1 x 36,4 cm

sign. num.

Auflage 125 Exemplare

Guastalla A 195 pl. I

[17574]

Marino Marini,

44. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Giocondo"

(Der Heitere)

Farbaquatintaradierung 1976-1978

72,1 x 56,6 cm Pr. 49,7 x 36,7 cm

sign. num.

Auflage 125 Exemplare

Guastalla A 196 pl. II

[17575]

Marino Marini,

45. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Risveglio"

(Erwachen)

Farbaquatintaradierung 1976-1978

72 x 56,7 cm Pr. 49,6 x 36,4 cm

sign. num.

Auflage 125 Exemplare

Guastalla A 197 pl. III

[17576]


"Hauptsache ist vor allem die Qualität eines Kunstwerkes. Ich selbst, als Mensch des Mittelmeerraumes, kann mich nur im Figürlichen frei ausdrücken. Aber ich akzeptiere und bewundere jede andere Ausdrucksform, soweit ein Künstler durch sie eine Botschaft mitteilt. Ein Streichholz kann erregender sein als eine dorische Säule, aber es wäre absurd, von vorneherein anzunehmen, dass eine Streichholzschachtel die gleiche Bedeutung habe wie der Parthenon."
Marino Marini

Marino Marini,

46. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Acrobata"

(Akrobat)

Farbaquatintaradierung 1977

72,1 x 57,3 cm Pr. 50,2 x 36,7 cm

bez.

Auflage 150 Exemplare

Guastalla A 201

[17571]

Marino Marini,

47. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Tre Cavalli"

(Drei Pferde)

Farbaquatintaradierung 1977

72,4 x 56,5 cm Pr. 51,4 x 39,6 cm

bez.

Auflage 150 Exemplare

Guastalla A 202

[17569]

Marino Marini,

48. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Cavaliere e Cavallo"

(Reiter und Pferd)

Farbaquatintaradierung 1977

72 x 57,3 cm Pr. 49,8 x 36,8 cm

bez.

Auflage 175 Exemplare

Guastalla A 203

[17570]

Marino Marini,

49. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Tre Cavalli"

(Drei Pferde)

Farbaquatintaradierung 1977

72,2 x 57,4 cm Pr. 49,8 x 36,8 cm

bez.

Auflage 175 Exemplare

Guastalla A 204

[17572]

Marino Marini, aus

50. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

aus "Marino from Goethe"

in blau, schwarz, weiß und grün

Farbaquatintaradierung 1979, verlegt 1980

90 x 62,7 cm Pr. 62,5 x 49 cm

sign. num.

Auflage 195 Exemplare

Guastalla A 227 pl. III

[17926]

Marino Marini, aus

51. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

aus "Marino from Goethe"

in rot, gelb, blau und orange

Farbaquatintaradierung 1979, verlegt 1980

90,7 x 63,3 cm Pr. 63,8 x 49,9 cm

sign. num.

Auflage 195 Exemplare

Guastalla A 228 pl. IV

[17450]


"Was mich anbetrifft, so habe ich nicht mehr die Absicht, den Sieg eines Helden zu feiern. Ich möchte etwas Tragisches ausdrücken, eine Art Menschheitsdämmerung, eher eine Niederlage als einen Sieg. Wenn Sie meine Reiterstatuen aus den letzten zwölf Jahren nacheinander betrachten, werden Sie bemerken, dass der Reiter jedes Mal unfähiger wird, sein Pferd zu meistern und dass das Tier in seiner immer wilderen Angst sich steif macht, anstatt sich aufzubäumen. Ich glaube allen Ernstes, dass wir dem Ende der Welt entgegengehen.
… Meine Reiterstatuen drücken die Beängstigung aus, die mir die Ereignisse meines Zeitalters verursachen. Die Unruhe meiner Pferde steigt mit jedem neuen Werk; die immer kraftloser werdenden Reiter haben die Herrschaft über die Tiere verloren, und die Katastrophen, denen sie erliegen, gleichen denen, die Sodom und Pompeji vernichtet haben. Ich suche so das letzte Stadium in der Auflösung eines Mythos zu versinnbildlichen, des Mythos vom heldenhaften, siegreichen Individuum, vom "uomo di virtú" der Humanisten. Meine in den letzten 14 Jahren entstandenen Werke wollen nicht heroisch, sondern tragisch sein."
Marino Marini

Marino Marini,

52. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Ceramica II"

aus Mappe "100 Jahre Mourlot"

Farblithographie 1955

66 x 50 cm Abb. 53,5 x 42,5 cm

sign. num.

Auflage 105 Exemplare

Guastalla L 61

[18472]

Marino Marini,

53. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Les Trois Chevaux"

(Die drei Pferde)

Farblithographie 1958

66 x 49 cm Abb. 61 x 43 cm

sign. num.

Auflage 58 Exemplare

Guastalla L 75

[17758]


"In der Kunst ist eine bestimmte Art von Ungenauigkeit wichtiger als alle Präzision."
Marino Marini

Marino Marini,

54. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Chevaux et Cavaliers I"

(Pferde und Reiter I)

Farblithographie 1972

50 x 65 cm Abb. 38 x 50 cm

sign. num.

Auflage 86 Exemplare

Guastalla L 104 pl. I

[17892]

Marino Marini,

55. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Chevaux et Cavaliers II"

(Pferde und Reiter II)

Farblithographie 1972

50 x 64,7 cm Abb. 37,5 x 49 cm

sign. num.

Auflage 86 Exemplare

Guastalla L 105 pl. II

[17897]

Marino Marini,

56. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Chevaux et Cavaliers III"

(Pferde und Reiter III)

Farblithographie 1972

50 x 64,8 cm Abb. 38,5 x 50 cm

sign. num.

Auflage 86 Exemplare

Guastalla L 106 pl. III

[17903]

Marino Marini,

57. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Chevaux et Cavaliers IV"

(Pferde und Reiter IV)

Farblithographie 1972

50 x 64,7 cm Abb. 37 x 50,5 cm

sign. num.

Auflage 86 Exemplare

Guastalla L 107 pl. IV

[17898]

Marino Marini,

58. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Chevaux et Cavaliers V"

(Pferde und Reiter V)

Farblithographie 1972

50 x 64,8 cm Abb. 37,8 x 50 cm

sign. num.

Auflage 86 Exemplare

Guastalla L 108 pl. V

[17899]

Marino Marini,

59. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Chevaux et Cavaliers VI"

(Pferde und Reiter VI)

Farblithographie 1972

50 x 64,8 cm Abb. 37 x 50 cm

sign. num.

Auflage 86 Exemplare

Guastalla L 109 pl. VI

[17900]

Marino Marini,

60. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Chevaux et Cavaliers VII"

(Pferde und Reiter VII)

Farblithographie 1972

50 x 65 cm Abb. 37 x 50 cm

sign. num.

Auflage 86 Exemplare

Guastalla L 110 pl. VII

[17901]

Marino Marini,

61. Marino Marini

(Pistoia 1901 - 1980 Viareggio)

"Chevaux et Cavaliers VIII"

(Pferde und Reiter VIII)

Farblithographie 1972

50 x 65 cm Abb. 39,5 x 52 cm

sign. num.

Auflage 86 Exemplare

Guastalla L 111 pl. VIII

[17902]



Biografie / Biography / Biografía / Biographie

1901 Marino Marini was born on February 27 in Pistoia, in Tuscany. His twin sister, Egle, became a poet. "For me Tuscany is a starting point, which is innate and is part of my being. My discovery of Etruscan art was an extraordinary event. This is why my art lies on themes from the past, as the link between man and horse, rather than on modern subjects like the man/machine relationship."
1917 He registers at the Accademia di Belle Arti of Florence where he participates in a drawing class given by Galileo Chini: "I looked for the origins of every idea in colour," he once said, "whether it’s called painting or drawing, I’m not sure."
1919 He makes his first trip to Paris where he encounters the new art trends.
1920 He is interested in painting and engraving. In some works from this period — the Virgins (Museo Marino Marini, Florence) — the influence of Piero della Francesca’s painting is evident.
1922 He concentrates his efforts on sculpture; the ancient art of Pistoia and Tuscany makes a decided impact on his development.
1923 He begins the long series of exhibitions. He participates in the Rome Biennial and in a group exhibition in Livorno.
1926 He takes a studio in Florence at the base of the hill of Fiesole.
1927 He takes part in the Third International Exhibition of Decorative Arts at Monza with several pieces.
1928 He participates in the Venice Biennial for the first time with two bronzes and takes part in the exhibition of the "Gruppo del Novecento Italiano" at the Milano Gallery with ten works including a few terracottas. The Blind Man is one of his first significant works.
1929 In this year he leaves Florence for Milan: "Milan is the Italian city that is most closely tied to Europe. It has the same colour as Europe, the same way of life, the same way of working. For me, to be in Milan is to live in the heart of Europe." He is called to Monza’s Villa Reale art school by Arturo Martini, whom he succeeded at the teaching chair of sculpture which he holds until 1940. He exhibits with other Italian artists, including Carrà, De Chirico, Sironi, Modigliani, and Martini, at the Fine Arts Society in Nice and at the Buonaparte publishing house in Paris. At the second exhibition of the Novecento Italiano at the Palazzo della Permanente in Milan, he presents six works. His terracotta sculpture, the People, is a revelation to the critics. That same year he makes the portrait of the painter Alberto Magnelli as well as a first self-portrait in polychrome plaster.
1930 He stays in Paris where he finds many friends such as Campigli, De Chirico, and Severini, and he meets Picasso, Maillol, Braque, Laurens and Lipchitz. He takes part in an exhibition in Florence with eight paintings and nine sculptures and in the Venice Biennial with three sculptures and one painting. He creates Ersilia, a wood sculpture that marks an important stage in his creative development.
1931 Another stay in Paris where he meets Tanguy, De Chirico, Kandinsky and Gonzàlez.
1932 The year of official recognition: he exhibits drawings and sculptures, first in Milan and then in Rome. He becomes an honorary member of the Accademia di Belle Arti in Florence.
1934 During a trip to Germany he visits the Bamberg Cathedral where he has a chance to admire the equestrian statue of Henry II (13th century). This "gothic" rider makes a deep impression on him and leads to the creation of the sculpture Idea for a Rider.
1935 He participates in the second Rome Quadrennial where he wins first prize. His sources, Etruscan and Roman art, are very evident here. He makes a second self-portrait in bronze and begins the theme of the Pomonas, the Etruscan goddess symbolizing the fertility of the earth.
1936 The first monography about him is published by Editions him is published by Editions des Chroniques du Jour (Paris), including an introduction by Paul Fierens. He participates in the twentieth Venice Biennial with nine works. He begins the Riders series during this period.
1937 He makes several trips to ltaly and Europe. During a new trip to Paris he enjoys the company of many artists: Kandinsky, Tanguy, Maillol, Picasso, Braque, Laurens, Magnelli, De Chirico... He wins the Grand Prix at the International Exhibition in Paris. A wood sculpture, the Boxer, of 1935 enters French collections.
1938 On December 14 he marries Mercedes Pedrazzini whom he calls Marina as though to underline their close ties that would unite them through-out their lives. He participates in the Venice Biennial with two portraits.
1939 He takes part in the third Rome Quadrennial with five works and exhibits in December at the Barbaroux Gallery in Milan.
1940 He leaves his teaching position at Monza to become a professor in the sculpture department at the Accademia in Turin.
1941 Marini earns the teaching chair for sculpture at the Accademia di Brera in Milan.
1942 He makes his third self-portrait in polychrome plaster. In November he exhibits a selection of drawings at the Zodiaco Gallery in Rome. His studio in Monza and his apartment in Milan are destroyed by bombing as are quite a few of his works. In December, he and his wife seek refuge at Tenero, near Locarno in Switzerland, where he continues to work.
1943 He makes frequent trips to Zurich and Basel. Here he finds many artists including Giacometti, Banninger, Wotruba, Germaine Richier, and Haller. He moves closer to lithogaphy and sculpts the Pomonas, a portrait in bronze of Marina, and the famous Arcangelo (Arch.angel) that marks the inception of a series of Miracles. "The figure of the Archangel" Marino later says, "[...] greatly interested me in terms of physiognomy and even for the attitude of the body: its sadness expressed itself all over the face and body, a mournful construction, a sacrificial construction, a bountiful construction; this is why the body and not just the face interested me."
1944 He participated in the great Exhibition at the Kunstmuseum in Basel along with Wotruba and Germaine Richier.
1945 He exhibits once again with Wotruba and Germaine Richier at the Kunsthalle in Bern, and then in Zurich. He makes the bronze portrait of Germaine Richier and those in polychrome terracotta of Manuel and Ulrich Gasser that would be donated to Zurich’s Kunsthaus thirty years later.
1948 They return to Milan where Marino goes back to teaching at Brera. He settles into an atelier in Piazza Mirabello where he works for the rest of his life. He makes a portrait of Carrà and one of Marina in polychrome stucco. lt is a decisive year for the artist who makes several journeys and participates in the Venice Biennial where he has an entire room to himself. He meets Henry Moore and a deep friendship binds them. He meets the most important art dealer of the period — Curt Valentin — who falls in love with his works, so much so that he acquires many of them and becomes his agent in the United States, where he organizes many exhibitions. What’s more he meets Peggy Guggenheim who buys a bronze model of the The Town’s Guardian Angel, placing it in front of her homonymous museum on Venice’s Grand Canal. From this year on, his painterly production increases considerably.
1949 He takes part in the exhibition "Twentieth Century Italian Art" organized by Luigi Toninelli at the Museum of Modem Art in New York. This is the year in which he executes one of his major works The Town’s Guardian Angel which he wouid speak of many years later: "The gentle expression of the Guggenheim’s Rider is joyous... the war had just barely ended and the man on the horse, arms spread open, made you imagine that he could cry out what he was..."
1950 In his gallery, the Bulcholz Gallery, Curt Valentin organizes the first Marini exhibition in New York with drawings, lithographs and 28 sculptures. It runs from February 14 to March 11. The artist stays in the United States form February to June. He meets Stravinsky during this period and immediately does his portrait (a second version would be executed in 1951); he also meets Arp, Beckmann, Feininger, Dalí, and Mies van der Rohe. Kaufmann, the owner of Bear Run House, one of Frank Lloyd Wright’s masterpieces, purchases an example of The Town’s Guardian Angel and places it near the waterfall close to his house. Back from the United States, Marino stops in London where he visits Henry Moore. The Hanover Gallery holds an exhibition dedicated to him.
1952 He receives the international Grand Prize of Sculpture at the Venice Biennial. Again he has an exhibition room to himself where he displays twelve sculptures and six paintings. He works on six lithographs in Paris in the atelier of Fernand Mourlot. He meets Masson, Braque, Ungaretti, and Brancusi. The Miracles completely absorb him, but he continues the series of portraits, including the bronze one of Curt Valentin (a second version would be realized in 1954).
1953 Many exhibitions take place throughout Europe: in Göteborg, Stockholm, Copenhagen and Oslo. The same happens in the United States: in Cincinatti and in New York at Curt Valentin’s Gallery, then at the Museum of Modern Art where he takes part in the exhibition "Sculpture in the Twentieth Century". The monography edited by Umbro Apollonio is published.
1954 He wins the Grand Prize from the Lincei Academy in Rome. During the summer he and his wife move into the house she designed, the Germinaia at Forte dei Marmi. This is where Curt Valentin dies. This was a great loss for the artist who admired him and had great esteem for him. Pierre Matisse becomes Marini’s new dealer in the United States. Pablo Neruda meets Marino at the Germinaia.
1955 Personal exhibitions in Germany, France (exhibition of lithographies at the Berggruen Gallery in Paris), Holland, and the United States (New York). He participates in Kassel’s Documenta.
1956 Personal exhibitions in London and Los Angeles. He takes part in the international Exhibition at the Rodin Museum in Paris. Marino confronts the new theme of the Warrior.
1957 Personal exhibitions in Dusseldorf and New York.
1958 He exhibits some works together with those of Giacometti, Matisse, and Moore at the Hanover Galiery in London. The Bayerische Staatsgemaldesammlung in Munich purchases a large Miracle.
1959 He makes an equestrian monument in bronze for a square in The Hague in memory of the horror of the war. lt is the largest work in bronze made by the artist (6 metres high). The base bears the inscription: "We built, we destroyed, and a sad song weighed on the world." He participates in Kassel’s Documenta.
1960 The Germanisches Nationalmuseum in Nuremberg purchases a large Warrior. The large Miracle of 1953 is piaced in Rotterdam in memory of those who fell at war.
1961 He executes a portrait of Henry Miller at Forte dei Marmi, where he also did Henry Moore’s.
1962 Zurich’s Kunsthaus presents a major retrospective reuniting more than two hundred works and meets with great success. He makes the portrait of Marc Chagall and Henry Moore. Moore donates his to the National Portrait Gallery in London.
1963 He presents a few paintings at the Toninelli Gallery in Milan and a few sculptures at the Calder — Marini Exhibition at the Gallery of Modern Art in Basel. In Arp’s atelier, he makes the artist’s portrait. Franco Russoli’s monography is published.
1964 A major painting exhibition at the Museum Boymans Van Beuningen in Rotterdam. He participates in Kassel’s Documenta.
1966 An important exhibition of sculpture, paintings, and drawings at Palazzo Venezia in Rome, curated by Giovanni Carandente.
1967 He goes to Berlin to meet with Mies van der Rohe, who is supervising the construction of the Nationalgalerie, and makes a portrait of him that was commissioned by the museum itself.
1968 He receives the highest German honour at Gottingen: membership in the Orden Pour le mérite of science and art. Marino is very proud of this honour which had previously been conceded to only two great ltalians: Alessandro Manzoni and Giuseppe Verdi. He works mostly in stone, but painting remains one of his greatest interests: "I have always had the need to paint and I never begin a sculpture before first investigating its essence pictorially... To conceive of a form is to recognize the colour, it is the vision of colour, to paint is to enter the poetry of the fact and the fact becomes reality through the act."
1969 Exhibition ">From Colour to Form" at the Bibliothèque Nationale in Paris.
1971 Creation of the Idea for the Miracle.
1972 He becomes an honorary citizen of the City of Milan. In this year a retrospective of his works, dedicated to "Twentieth Century Personalities", is held at the Piero della Francesca research centre. Marino and Marina donate an important collection of works, sculptures (above all portraits), paintings, and drawings.
1973 The inauguration of the Museo Marino Marini within the Galleria d’Arie Moderna in Milan. At the request of the director of La Scala, Paolo Grassi, he creates the decoration and costumes for Stravinsky’s The Rite of Spring.
1974 Two large sculptures are donated to the Musei Vaticani in Rome: a Miracle in stone, donated by Gianni Agnelli, and a Rider in polychrome wood from the Battiato Collection.
1975 Exhibition at the Castello Sforzesco in Milan of twenty-one paintings from his early years.
1976 Munich’s Staatsgalerie Moderner Kunst dedicates a permanent exhibition space for paintings and sculpture to him. A retrospective of his graphic works is presented in Bavarian state museums, and then in Turin and Paris.
1977 He completes his last sculpture, a portrait of Oskar Kokoschka which he began in 1976.
1978 An itinerant exhibition of sculpture and painting in Japan’s museums in Tokyo, Yamagata, Sapporo, Kobe, and Kumamoto. In the same year he gives a bronze Rider to the Museum of Modem Art in Paris.
1979 lnauguration at the Pistoia’s Town Hall of a Documentation Centre dedicated to Marino Marini’s works; it has a library, a photographic library, a video library, and many sculptures including a large Miracle.
1980 He dies on August 6 in Viareggio at age seventy-nine.

1988 Florence’s Museo Marino Marini opens in the ancient church of San Pancrazio. Part of the sculptural and pictorial works donated to the museum come from the Marina Marini Collection.
1990 At the Vatican, in the Borgia’s apartments, inauguration of the Sala delle Arti Liberali, following a considerable donation by Marina Marini.
1990 The Fondazione Marino Marini at the Palazzo del Tau opens in Pistoia and is destined to ensure the conservation and propagation of his work.