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MARINO MARINI (1901-1980)

$55,000

KÜNSTLER BIO ANFORDERNPDF HERUNTERLADEN
 
<div>Marino Marini’s <em>Marino from Shakespeare I</em> (1977) is a vivid and psychologically charged work on paper, executed in tempera over aquatint and drawn from the artist’s celebrated Marino from Shakespeare portfolio. In this variation, the equestrian figure is pushed to the foreground, its white, angular horse rearing across the composition with a sense of precarious motion. The rider is pared down to a mask-like head and simplified body, a formal reduction that places the figure in a state of fragile balance between control and collapse. </div><br><br><div> </div><br><br><div>The chromatic structure is bold and instinctive. Fields of violet, coral, and blue form a textured ground, against which the stark white of the horse and the warm reds and oranges of the rider assert themselves with dramatic clarity. Marini’s use of tempera over aquatint allows him to combine tonal depth with painterly immediacy: granular passages of aquatint dissolve into expressive sweeps of color, while linear accents stabilize the composition just enough to prevent it from tipping into chaos. </div><br><br><div> </div><br><br><div>As in many of his most significant works, the equestrian motif functions symbolically rather than narratively. Though inspired in spirit by Shakespeare, the image does not illustrate a specific text, instead channeling the emotional intensity and existential unease associated with tragic drama. Marini famously described his horse-and-rider figures as expressions of modern anxiety, stating, “My equestrian figures are symbols of the anguish that I feel when I survey contemporary events.” Here, that anguish is palpable in the strained geometry, unstable balance, and urgent movement of the forms. The print stands as a compelling demonstration of Marini’s ability to translate his sculptural language into graphic form, using color and gesture to confront the fragility of human authority and control. </div> <div>Marino Marini’s <em>Marino from Shakespeare I</em> (1977) is a vivid and psychologically charged work on paper, executed in tempera over aquatint and drawn from the artist’s celebrated Marino from Shakespeare portfolio. In this variation, the equestrian figure is pushed to the foreground, its white, angular horse rearing across the composition with a sense of precarious motion. The rider is pared down to a mask-like head and simplified body, a formal reduction that places the figure in a state of fragile balance between control and collapse. </div><br><br><div> </div><br><br><div>The chromatic structure is bold and instinctive. Fields of violet, coral, and blue form a textured ground, against which the stark white of the horse and the warm reds and oranges of the rider assert themselves with dramatic clarity. Marini’s use of tempera over aquatint allows him to combine tonal depth with painterly immediacy: granular passages of aquatint dissolve into expressive sweeps of color, while linear accents stabilize the composition just enough to prevent it from tipping into chaos. </div><br><br><div> </div><br><br><div>As in many of his most significant works, the equestrian motif functions symbolically rather than narratively. Though inspired in spirit by Shakespeare, the image does not illustrate a specific text, instead channeling the emotional intensity and existential unease associated with tragic drama. Marini famously described his horse-and-rider figures as expressions of modern anxiety, stating, “My equestrian figures are symbols of the anguish that I feel when I survey contemporary events.” Here, that anguish is palpable in the strained geometry, unstable balance, and urgent movement of the forms. The print stands as a compelling demonstration of Marini’s ability to translate his sculptural language into graphic form, using color and gesture to confront the fragility of human authority and control. </div> <div>Marino Marini’s <em>Marino from Shakespeare I</em> (1977) is a vivid and psychologically charged work on paper, executed in tempera over aquatint and drawn from the artist’s celebrated Marino from Shakespeare portfolio. In this variation, the equestrian figure is pushed to the foreground, its white, angular horse rearing across the composition with a sense of precarious motion. The rider is pared down to a mask-like head and simplified body, a formal reduction that places the figure in a state of fragile balance between control and collapse. </div><br><br><div> </div><br><br><div>The chromatic structure is bold and instinctive. Fields of violet, coral, and blue form a textured ground, against which the stark white of the horse and the warm reds and oranges of the rider assert themselves with dramatic clarity. Marini’s use of tempera over aquatint allows him to combine tonal depth with painterly immediacy: granular passages of aquatint dissolve into expressive sweeps of color, while linear accents stabilize the composition just enough to prevent it from tipping into chaos. </div><br><br><div> </div><br><br><div>As in many of his most significant works, the equestrian motif functions symbolically rather than narratively. Though inspired in spirit by Shakespeare, the image does not illustrate a specific text, instead channeling the emotional intensity and existential unease associated with tragic drama. Marini famously described his horse-and-rider figures as expressions of modern anxiety, stating, “My equestrian figures are symbols of the anguish that I feel when I survey contemporary events.” Here, that anguish is palpable in the strained geometry, unstable balance, and urgent movement of the forms. The print stands as a compelling demonstration of Marini’s ability to translate his sculptural language into graphic form, using color and gesture to confront the fragility of human authority and control. </div> <div>Marino Marini’s <em>Marino from Shakespeare I</em> (1977) is a vivid and psychologically charged work on paper, executed in tempera over aquatint and drawn from the artist’s celebrated Marino from Shakespeare portfolio. In this variation, the equestrian figure is pushed to the foreground, its white, angular horse rearing across the composition with a sense of precarious motion. The rider is pared down to a mask-like head and simplified body, a formal reduction that places the figure in a state of fragile balance between control and collapse. </div><br><br><div> </div><br><br><div>The chromatic structure is bold and instinctive. Fields of violet, coral, and blue form a textured ground, against which the stark white of the horse and the warm reds and oranges of the rider assert themselves with dramatic clarity. Marini’s use of tempera over aquatint allows him to combine tonal depth with painterly immediacy: granular passages of aquatint dissolve into expressive sweeps of color, while linear accents stabilize the composition just enough to prevent it from tipping into chaos. </div><br><br><div> </div><br><br><div>As in many of his most significant works, the equestrian motif functions symbolically rather than narratively. Though inspired in spirit by Shakespeare, the image does not illustrate a specific text, instead channeling the emotional intensity and existential unease associated with tragic drama. Marini famously described his horse-and-rider figures as expressions of modern anxiety, stating, “My equestrian figures are symbols of the anguish that I feel when I survey contemporary events.” Here, that anguish is palpable in the strained geometry, unstable balance, and urgent movement of the forms. The print stands as a compelling demonstration of Marini’s ability to translate his sculptural language into graphic form, using color and gesture to confront the fragility of human authority and control. </div> <div>Marino Marini’s <em>Marino from Shakespeare I</em> (1977) is a vivid and psychologically charged work on paper, executed in tempera over aquatint and drawn from the artist’s celebrated Marino from Shakespeare portfolio. In this variation, the equestrian figure is pushed to the foreground, its white, angular horse rearing across the composition with a sense of precarious motion. The rider is pared down to a mask-like head and simplified body, a formal reduction that places the figure in a state of fragile balance between control and collapse. </div><br><br><div> </div><br><br><div>The chromatic structure is bold and instinctive. Fields of violet, coral, and blue form a textured ground, against which the stark white of the horse and the warm reds and oranges of the rider assert themselves with dramatic clarity. Marini’s use of tempera over aquatint allows him to combine tonal depth with painterly immediacy: granular passages of aquatint dissolve into expressive sweeps of color, while linear accents stabilize the composition just enough to prevent it from tipping into chaos. </div><br><br><div> </div><br><br><div>As in many of his most significant works, the equestrian motif functions symbolically rather than narratively. Though inspired in spirit by Shakespeare, the image does not illustrate a specific text, instead channeling the emotional intensity and existential unease associated with tragic drama. Marini famously described his horse-and-rider figures as expressions of modern anxiety, stating, “My equestrian figures are symbols of the anguish that I feel when I survey contemporary events.” Here, that anguish is palpable in the strained geometry, unstable balance, and urgent movement of the forms. The print stands as a compelling demonstration of Marini’s ability to translate his sculptural language into graphic form, using color and gesture to confront the fragility of human authority and control. </div> <div>Marino Marini’s <em>Marino from Shakespeare I</em> (1977) is a vivid and psychologically charged work on paper, executed in tempera over aquatint and drawn from the artist’s celebrated Marino from Shakespeare portfolio. In this variation, the equestrian figure is pushed to the foreground, its white, angular horse rearing across the composition with a sense of precarious motion. The rider is pared down to a mask-like head and simplified body, a formal reduction that places the figure in a state of fragile balance between control and collapse. </div><br><br><div> </div><br><br><div>The chromatic structure is bold and instinctive. Fields of violet, coral, and blue form a textured ground, against which the stark white of the horse and the warm reds and oranges of the rider assert themselves with dramatic clarity. Marini’s use of tempera over aquatint allows him to combine tonal depth with painterly immediacy: granular passages of aquatint dissolve into expressive sweeps of color, while linear accents stabilize the composition just enough to prevent it from tipping into chaos. </div><br><br><div> </div><br><br><div>As in many of his most significant works, the equestrian motif functions symbolically rather than narratively. Though inspired in spirit by Shakespeare, the image does not illustrate a specific text, instead channeling the emotional intensity and existential unease associated with tragic drama. Marini famously described his horse-and-rider figures as expressions of modern anxiety, stating, “My equestrian figures are symbols of the anguish that I feel when I survey contemporary events.” Here, that anguish is palpable in the strained geometry, unstable balance, and urgent movement of the forms. The print stands as a compelling demonstration of Marini’s ability to translate his sculptural language into graphic form, using color and gesture to confront the fragility of human authority and control. </div> <div>Marino Marini’s <em>Marino from Shakespeare I</em> (1977) is a vivid and psychologically charged work on paper, executed in tempera over aquatint and drawn from the artist’s celebrated Marino from Shakespeare portfolio. In this variation, the equestrian figure is pushed to the foreground, its white, angular horse rearing across the composition with a sense of precarious motion. The rider is pared down to a mask-like head and simplified body, a formal reduction that places the figure in a state of fragile balance between control and collapse. </div><br><br><div> </div><br><br><div>The chromatic structure is bold and instinctive. Fields of violet, coral, and blue form a textured ground, against which the stark white of the horse and the warm reds and oranges of the rider assert themselves with dramatic clarity. Marini’s use of tempera over aquatint allows him to combine tonal depth with painterly immediacy: granular passages of aquatint dissolve into expressive sweeps of color, while linear accents stabilize the composition just enough to prevent it from tipping into chaos. </div><br><br><div> </div><br><br><div>As in many of his most significant works, the equestrian motif functions symbolically rather than narratively. Though inspired in spirit by Shakespeare, the image does not illustrate a specific text, instead channeling the emotional intensity and existential unease associated with tragic drama. Marini famously described his horse-and-rider figures as expressions of modern anxiety, stating, “My equestrian figures are symbols of the anguish that I feel when I survey contemporary events.” Here, that anguish is palpable in the strained geometry, unstable balance, and urgent movement of the forms. The print stands as a compelling demonstration of Marini’s ability to translate his sculptural language into graphic form, using color and gesture to confront the fragility of human authority and control. </div> <div>Marino Marini’s <em>Marino from Shakespeare I</em> (1977) is a vivid and psychologically charged work on paper, executed in tempera over aquatint and drawn from the artist’s celebrated Marino from Shakespeare portfolio. In this variation, the equestrian figure is pushed to the foreground, its white, angular horse rearing across the composition with a sense of precarious motion. The rider is pared down to a mask-like head and simplified body, a formal reduction that places the figure in a state of fragile balance between control and collapse. </div><br><br><div> </div><br><br><div>The chromatic structure is bold and instinctive. Fields of violet, coral, and blue form a textured ground, against which the stark white of the horse and the warm reds and oranges of the rider assert themselves with dramatic clarity. Marini’s use of tempera over aquatint allows him to combine tonal depth with painterly immediacy: granular passages of aquatint dissolve into expressive sweeps of color, while linear accents stabilize the composition just enough to prevent it from tipping into chaos. </div><br><br><div> </div><br><br><div>As in many of his most significant works, the equestrian motif functions symbolically rather than narratively. Though inspired in spirit by Shakespeare, the image does not illustrate a specific text, instead channeling the emotional intensity and existential unease associated with tragic drama. Marini famously described his horse-and-rider figures as expressions of modern anxiety, stating, “My equestrian figures are symbols of the anguish that I feel when I survey contemporary events.” Here, that anguish is palpable in the strained geometry, unstable balance, and urgent movement of the forms. The print stands as a compelling demonstration of Marini’s ability to translate his sculptural language into graphic form, using color and gesture to confront the fragility of human authority and control. </div> <div>Marino Marini’s <em>Marino from Shakespeare I</em> (1977) is a vivid and psychologically charged work on paper, executed in tempera over aquatint and drawn from the artist’s celebrated Marino from Shakespeare portfolio. In this variation, the equestrian figure is pushed to the foreground, its white, angular horse rearing across the composition with a sense of precarious motion. The rider is pared down to a mask-like head and simplified body, a formal reduction that places the figure in a state of fragile balance between control and collapse. </div><br><br><div> </div><br><br><div>The chromatic structure is bold and instinctive. Fields of violet, coral, and blue form a textured ground, against which the stark white of the horse and the warm reds and oranges of the rider assert themselves with dramatic clarity. Marini’s use of tempera over aquatint allows him to combine tonal depth with painterly immediacy: granular passages of aquatint dissolve into expressive sweeps of color, while linear accents stabilize the composition just enough to prevent it from tipping into chaos. </div><br><br><div> </div><br><br><div>As in many of his most significant works, the equestrian motif functions symbolically rather than narratively. Though inspired in spirit by Shakespeare, the image does not illustrate a specific text, instead channeling the emotional intensity and existential unease associated with tragic drama. Marini famously described his horse-and-rider figures as expressions of modern anxiety, stating, “My equestrian figures are symbols of the anguish that I feel when I survey contemporary events.” Here, that anguish is palpable in the strained geometry, unstable balance, and urgent movement of the forms. The print stands as a compelling demonstration of Marini’s ability to translate his sculptural language into graphic form, using color and gesture to confront the fragility of human authority and control. </div> <div>Marino Marini’s <em>Marino from Shakespeare I</em> (1977) is a vivid and psychologically charged work on paper, executed in tempera over aquatint and drawn from the artist’s celebrated Marino from Shakespeare portfolio. In this variation, the equestrian figure is pushed to the foreground, its white, angular horse rearing across the composition with a sense of precarious motion. The rider is pared down to a mask-like head and simplified body, a formal reduction that places the figure in a state of fragile balance between control and collapse. </div><br><br><div> </div><br><br><div>The chromatic structure is bold and instinctive. Fields of violet, coral, and blue form a textured ground, against which the stark white of the horse and the warm reds and oranges of the rider assert themselves with dramatic clarity. Marini’s use of tempera over aquatint allows him to combine tonal depth with painterly immediacy: granular passages of aquatint dissolve into expressive sweeps of color, while linear accents stabilize the composition just enough to prevent it from tipping into chaos. </div><br><br><div> </div><br><br><div>As in many of his most significant works, the equestrian motif functions symbolically rather than narratively. Though inspired in spirit by Shakespeare, the image does not illustrate a specific text, instead channeling the emotional intensity and existential unease associated with tragic drama. Marini famously described his horse-and-rider figures as expressions of modern anxiety, stating, “My equestrian figures are symbols of the anguish that I feel when I survey contemporary events.” Here, that anguish is palpable in the strained geometry, unstable balance, and urgent movement of the forms. The print stands as a compelling demonstration of Marini’s ability to translate his sculptural language into graphic form, using color and gesture to confront the fragility of human authority and control. </div>
Marino aus Shakespeare I1977Bildgröße: 19 1/8 x 15 1/2 Zoll(48,58 x 39,37 cm) Tempera über Aquatinta auf Papier
Provenienz
Fondazione Marino Marini, Pistoia
Privatsammlung, erworben von oben genanntem, 2006
Sotheby's, New York, 14. November 2023, Los 117
Privatsammlung, erworben von oben genanntem
Literaturhinweise
Pierre Casè, Hrsg., Marino Marini, Mailand, 1999, S. 94, abgebildet
Marino Marinis Marino aus Shakespeare I (1977) ist ein lebendiges und psychologisch aufgeladenes Werk auf Papier, ausgeführt in Tempera über Aquatinta und entnommen aus dem berühmten Portfolio Marino aus Shakespeare des Künstlers. In dieser Variation wird die Reiterfigur in den Vordergrund gerückt, ihr weißes, kantiges Pferd bäumt sich quer über die Komposition auf und vermittelt ein Gefühl von unsicherer Bewegung. Der Reiter ist auf einen maskenhaften Kopf und einen vereinfachten Körper reduziert, eine formale Reduktion, die die Figur in einen Zustand fragilen Gleichgewichts zwischen Kontrolle und Zusammenbruch versetzt.





Die chromatische Struktur ist kühn und instinktiv. Felder aus Violett, Koralle und Blau bilden einen strukturierten Hintergrund, vor dem sich das strahlende Weiß des Pferdes und die warmen Rot- und Orangetöne des Reiters mit dramatischer Klarheit behaupten. Marinis Verwendung von Tempera über Aquatinta ermöglicht es ihm, tonale Tiefe mit malerischer Unmittelbarkeit zu verbinden: Körnige Aquatinta-Passagen lösen sich in expressiven Farbstreifen auf, während lineare Akzente die Komposition gerade so weit stabilisieren, dass sie nicht ins Chaos abgleitet.


 


Wie in vielen seiner bedeutendsten Werke fungiert das Reitermotiv eher symbolisch als narrativ. Obwohl es vom Geist Shakespeares inspiriert ist, illustriert das Bild keinen bestimmten Text, sondern vermittelt die emotionale Intensität und existenzielle Unruhe, die mit tragischen Dramen verbunden sind. Marini beschrieb seine Pferde- und Reiterfiguren bekanntlich als Ausdruck moderner Ängste und erklärte: „Meine Reiterfiguren sind Symbole für die Qualen, die ich empfinde, wenn ich die aktuellen Ereignisse betrachte.“ Hier wird diese Angst durch die angespannte Geometrie, die instabile Balance und die drängende Bewegung der Formen deutlich spürbar. Der Druck ist ein überzeugender Beweis für Marinis Fähigkeit, seine Bildhauersprache in grafische Form zu übersetzen und mit Farbe und Gestik die Fragilität menschlicher Autorität und Kontrolle zu thematisieren.
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