Word: marini
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...grew up in the very heartland of Italian Renaissance sculpture, near the statue-bedecked city of Florence. He didn't throw rocks at Michelangelos or Donatellos, but for the young Italian sculptor Marino Marini, the past was a prison. "An artist who wants to be modern can't live in a museum city," he says. "With all this great authority around, it was difficult...
...Marini fled to Paris, incubated his talents with the help of artists like Picasso and Julio González for one year, and then chose Milan as his work place when he returned home to become eventually Italy's most important modern sculptor. Yet his works, for all their modernity and energetic eclecticism, look as if they predated Michelangelo by a thousand years (see color pages...
Steaming Courtesans. Now 65 years old, Marini likes to call himself an Etruscan, after those sturdy people who flourished in his native Tuscany before the grandeur of Rome. His figures wear an antique patina. His bronzes are left pitted by their plaster casts or are particolored from carefully ladled-on corrosive dyes; his wooden statuary is daubed with earthy tints, oil paints clinging to the surfaces as in flaking frescoes. Even his lush-thighed Pomonas, named for the ancient Italian goddess of fruit trees, seem like the petrified victims of the last days of Pompeii. But as currently displayed...
...reliance on the past, 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...
...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...