Word: gattamelata
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Dates: during 1960-1969
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...Marini revived Italian sculpture in a period when it languished after the Rodinesque impressionism of Medardo Rosso and the kineticism of the futurists. Marini loathed the machine at first. He took his subject from the horse and rider, an image common in the Italian cityscape, with Donatello's Gattamelata, Verrocchio's Colleoni and the ancient Roman statue of Marcus Aurelius placed on the Capitoline Hill by Michelangelo. Traditionally, the man on horseback is a symbol of authority, of exultant control, of human power over nature. Marini turned the image from initial triumph to ultimate tragedy...
MARINO MARINI - Auslander, 1078 Madison Ave. at 81st. Man-on-horse formed Marini: as a youth he admired Donatello's equestrian Gattamelata, as a man he observed Dictator Benito Mussolini. Combining themes, he carved out a lesser heroism: his sculptures show stumbling horses and fearful men. In this show are some of the sculptures, but twelve lithographs, paired with his wife's poetry, and ten oils on paper show a purer image of horse and rider charging, falling, rising again with more courage than their predecessors. Through April...
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