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Sorcerer's Apprentice. Enthusiast Menotti agreed, and Carandente went to work. Britain's Henry Moore promised to lend his totemlike Glenkiln Cross and a bronze Reclining Figure. Top Italian sculptors like Manzu and Marini were easily persuaded to lend important pieces...

Author: /time Magazine | Title: Art: A Town Full of Sculpture | 8/24/1962 | See Source »

...proportion of masterly works in this exhibit is phenomenally high. But one can learn much even from the few failures--such as Marino Marini's heads of Stravinsky and Nelson Rockefeller and Gerhard Marck's Adenauer, all of which lack character and sufficient vraisemblance...

Author: By Caldwell Titcomb, | Title: Famous Personality Meets Famous Artist at ICA Exhibit | 7/20/1961 | See Source »

Critics find in the Sardinian bronzes a curious foreshadowing of works by such contemporaries as Henry Moore, Marino Marini. Georges Braque-and with good reason. One of the strongest moves in 20th century sculpture was to bypass classic Greek and Roman models to find inspiration in the earlier, cruder and fresher works of once scorned primitive art. The few Sardinian bronzes that are privately owned have brought offers of up to $16,000 for a single piece. An ardent admirer, Sculptor Jacques Lipchitz, praises their vitality, says, "They are almost as free as we are today." Sardinians consider them priceless...

Author: /time Magazine | Title: Art: A CULTURE IN MINIATURE | 6/9/1958 | See Source »

...goes on behind the blank white walls of the Palazzo Venier dei Leoni, a curiously truncated structure that jealous city officials stopped at mid-construction in the 18th century for fear that it would dwarf the city hall across the way. Up from the gondola landing stands Sculptor Marino Marini's strident Angel of the City (1948), a youth on horseback equipped with a detachable phallus that is respectfully removed whenever the Patriarch of Venice floats by to bless the city. Inside the palazzo, behind a 12-ft., barbed-wire-topped wall, lies more than $2,000,000 worth...

Author: /time Magazine | Title: Art: The Last Duchess | 12/16/1957 | See Source »

...admitted that he as well as the other students often felt lost in this atmosphere. This caused them to turn for inspiration to Mario Marini, the great contemporary Italian sculptor, who was at that time attached to the institute. But, according to Nivola, his help consisted of little more than shouting to the boys while on the way to his studio "Coraggio Ragazzi" (Courage Boys...

Author: By Lowell J. Rubin, | Title: Constantine Nivola | 3/8/1956 | See Source »

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