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MARINO MARINI (1901-1980)

$55,000

BIO DEL ARTISTA CONSULTARDESCARGAR PDF
 
<div>Marino Marini’s <em>Marino from Shakespeare I </em>(1977) is a vibrant and theatrically charged work on paper, executed in tempera over aquatint and drawn from the celebrated Marino from Shakespeare portfolio. The composition is animated by bold, gestural forms and a heightened palette of oranges, yellows, reds, and lilac that infuse the scene with dramatic urgency. A central equine form dominates the image, flanked by attenuated human figures whose raised arms and angled bodies suggest performance, confrontation, or ritualized movement. </div><br><br><div> </div><br><br><div>Although the title references Shakespeare, the connection is thematic rather than illustrative. Marini evokes the emotional intensity and existential drama associated with Shakespearean tragedy—conflict, power, instability—through dynamic relationships rather than narrative detail. The horse and rider, a recurring motif throughout Marini’s career, function here as symbolic protagonists rather than literal subjects. As the artist himself noted, “My equestrian figures are symbols of the anguish that I feel when I survey contemporary events,” and this sense of unease is palpable in the fractured forms and off-balance poses that animate the composition. </div><br><br><div> </div><br><br><div>Best known as one of the great sculptors of the twentieth century, Marini demonstrates in this suite his mastery of printmaking as an expressive language. The combination of aquatint’s tonal depth with painterly applications of tempera allows for both structural clarity and emotional immediacy. <em>Marino from Shakespeare I </em>stands as a compelling example of Marini’s late graphic work, translating his sculptural vocabulary into a vivid, modern meditation on the human condition. </div> <div>Marino Marini’s <em>Marino from Shakespeare I </em>(1977) is a vibrant and theatrically charged work on paper, executed in tempera over aquatint and drawn from the celebrated Marino from Shakespeare portfolio. The composition is animated by bold, gestural forms and a heightened palette of oranges, yellows, reds, and lilac that infuse the scene with dramatic urgency. A central equine form dominates the image, flanked by attenuated human figures whose raised arms and angled bodies suggest performance, confrontation, or ritualized movement. </div><br><br><div> </div><br><br><div>Although the title references Shakespeare, the connection is thematic rather than illustrative. Marini evokes the emotional intensity and existential drama associated with Shakespearean tragedy—conflict, power, instability—through dynamic relationships rather than narrative detail. The horse and rider, a recurring motif throughout Marini’s career, function here as symbolic protagonists rather than literal subjects. As the artist himself noted, “My equestrian figures are symbols of the anguish that I feel when I survey contemporary events,” and this sense of unease is palpable in the fractured forms and off-balance poses that animate the composition. </div><br><br><div> </div><br><br><div>Best known as one of the great sculptors of the twentieth century, Marini demonstrates in this suite his mastery of printmaking as an expressive language. The combination of aquatint’s tonal depth with painterly applications of tempera allows for both structural clarity and emotional immediacy. <em>Marino from Shakespeare I </em>stands as a compelling example of Marini’s late graphic work, translating his sculptural vocabulary into a vivid, modern meditation on the human condition. </div> <div>Marino Marini’s <em>Marino from Shakespeare I </em>(1977) is a vibrant and theatrically charged work on paper, executed in tempera over aquatint and drawn from the celebrated Marino from Shakespeare portfolio. The composition is animated by bold, gestural forms and a heightened palette of oranges, yellows, reds, and lilac that infuse the scene with dramatic urgency. A central equine form dominates the image, flanked by attenuated human figures whose raised arms and angled bodies suggest performance, confrontation, or ritualized movement. </div><br><br><div> </div><br><br><div>Although the title references Shakespeare, the connection is thematic rather than illustrative. Marini evokes the emotional intensity and existential drama associated with Shakespearean tragedy—conflict, power, instability—through dynamic relationships rather than narrative detail. The horse and rider, a recurring motif throughout Marini’s career, function here as symbolic protagonists rather than literal subjects. As the artist himself noted, “My equestrian figures are symbols of the anguish that I feel when I survey contemporary events,” and this sense of unease is palpable in the fractured forms and off-balance poses that animate the composition. </div><br><br><div> </div><br><br><div>Best known as one of the great sculptors of the twentieth century, Marini demonstrates in this suite his mastery of printmaking as an expressive language. The combination of aquatint’s tonal depth with painterly applications of tempera allows for both structural clarity and emotional immediacy. <em>Marino from Shakespeare I </em>stands as a compelling example of Marini’s late graphic work, translating his sculptural vocabulary into a vivid, modern meditation on the human condition. </div> <div>Marino Marini’s <em>Marino from Shakespeare I </em>(1977) is a vibrant and theatrically charged work on paper, executed in tempera over aquatint and drawn from the celebrated Marino from Shakespeare portfolio. The composition is animated by bold, gestural forms and a heightened palette of oranges, yellows, reds, and lilac that infuse the scene with dramatic urgency. A central equine form dominates the image, flanked by attenuated human figures whose raised arms and angled bodies suggest performance, confrontation, or ritualized movement. </div><br><br><div> </div><br><br><div>Although the title references Shakespeare, the connection is thematic rather than illustrative. Marini evokes the emotional intensity and existential drama associated with Shakespearean tragedy—conflict, power, instability—through dynamic relationships rather than narrative detail. The horse and rider, a recurring motif throughout Marini’s career, function here as symbolic protagonists rather than literal subjects. As the artist himself noted, “My equestrian figures are symbols of the anguish that I feel when I survey contemporary events,” and this sense of unease is palpable in the fractured forms and off-balance poses that animate the composition. </div><br><br><div> </div><br><br><div>Best known as one of the great sculptors of the twentieth century, Marini demonstrates in this suite his mastery of printmaking as an expressive language. The combination of aquatint’s tonal depth with painterly applications of tempera allows for both structural clarity and emotional immediacy. <em>Marino from Shakespeare I </em>stands as a compelling example of Marini’s late graphic work, translating his sculptural vocabulary into a vivid, modern meditation on the human condition. </div> <div>Marino Marini’s <em>Marino from Shakespeare I </em>(1977) is a vibrant and theatrically charged work on paper, executed in tempera over aquatint and drawn from the celebrated Marino from Shakespeare portfolio. The composition is animated by bold, gestural forms and a heightened palette of oranges, yellows, reds, and lilac that infuse the scene with dramatic urgency. A central equine form dominates the image, flanked by attenuated human figures whose raised arms and angled bodies suggest performance, confrontation, or ritualized movement. </div><br><br><div> </div><br><br><div>Although the title references Shakespeare, the connection is thematic rather than illustrative. Marini evokes the emotional intensity and existential drama associated with Shakespearean tragedy—conflict, power, instability—through dynamic relationships rather than narrative detail. The horse and rider, a recurring motif throughout Marini’s career, function here as symbolic protagonists rather than literal subjects. As the artist himself noted, “My equestrian figures are symbols of the anguish that I feel when I survey contemporary events,” and this sense of unease is palpable in the fractured forms and off-balance poses that animate the composition. </div><br><br><div> </div><br><br><div>Best known as one of the great sculptors of the twentieth century, Marini demonstrates in this suite his mastery of printmaking as an expressive language. The combination of aquatint’s tonal depth with painterly applications of tempera allows for both structural clarity and emotional immediacy. <em>Marino from Shakespeare I </em>stands as a compelling example of Marini’s late graphic work, translating his sculptural vocabulary into a vivid, modern meditation on the human condition. </div> <div>Marino Marini’s <em>Marino from Shakespeare I </em>(1977) is a vibrant and theatrically charged work on paper, executed in tempera over aquatint and drawn from the celebrated Marino from Shakespeare portfolio. The composition is animated by bold, gestural forms and a heightened palette of oranges, yellows, reds, and lilac that infuse the scene with dramatic urgency. A central equine form dominates the image, flanked by attenuated human figures whose raised arms and angled bodies suggest performance, confrontation, or ritualized movement. </div><br><br><div> </div><br><br><div>Although the title references Shakespeare, the connection is thematic rather than illustrative. Marini evokes the emotional intensity and existential drama associated with Shakespearean tragedy—conflict, power, instability—through dynamic relationships rather than narrative detail. The horse and rider, a recurring motif throughout Marini’s career, function here as symbolic protagonists rather than literal subjects. As the artist himself noted, “My equestrian figures are symbols of the anguish that I feel when I survey contemporary events,” and this sense of unease is palpable in the fractured forms and off-balance poses that animate the composition. </div><br><br><div> </div><br><br><div>Best known as one of the great sculptors of the twentieth century, Marini demonstrates in this suite his mastery of printmaking as an expressive language. The combination of aquatint’s tonal depth with painterly applications of tempera allows for both structural clarity and emotional immediacy. <em>Marino from Shakespeare I </em>stands as a compelling example of Marini’s late graphic work, translating his sculptural vocabulary into a vivid, modern meditation on the human condition. </div> <div>Marino Marini’s <em>Marino from Shakespeare I </em>(1977) is a vibrant and theatrically charged work on paper, executed in tempera over aquatint and drawn from the celebrated Marino from Shakespeare portfolio. The composition is animated by bold, gestural forms and a heightened palette of oranges, yellows, reds, and lilac that infuse the scene with dramatic urgency. A central equine form dominates the image, flanked by attenuated human figures whose raised arms and angled bodies suggest performance, confrontation, or ritualized movement. </div><br><br><div> </div><br><br><div>Although the title references Shakespeare, the connection is thematic rather than illustrative. Marini evokes the emotional intensity and existential drama associated with Shakespearean tragedy—conflict, power, instability—through dynamic relationships rather than narrative detail. The horse and rider, a recurring motif throughout Marini’s career, function here as symbolic protagonists rather than literal subjects. As the artist himself noted, “My equestrian figures are symbols of the anguish that I feel when I survey contemporary events,” and this sense of unease is palpable in the fractured forms and off-balance poses that animate the composition. </div><br><br><div> </div><br><br><div>Best known as one of the great sculptors of the twentieth century, Marini demonstrates in this suite his mastery of printmaking as an expressive language. The combination of aquatint’s tonal depth with painterly applications of tempera allows for both structural clarity and emotional immediacy. <em>Marino from Shakespeare I </em>stands as a compelling example of Marini’s late graphic work, translating his sculptural vocabulary into a vivid, modern meditation on the human condition. </div> <div>Marino Marini’s <em>Marino from Shakespeare I </em>(1977) is a vibrant and theatrically charged work on paper, executed in tempera over aquatint and drawn from the celebrated Marino from Shakespeare portfolio. The composition is animated by bold, gestural forms and a heightened palette of oranges, yellows, reds, and lilac that infuse the scene with dramatic urgency. A central equine form dominates the image, flanked by attenuated human figures whose raised arms and angled bodies suggest performance, confrontation, or ritualized movement. </div><br><br><div> </div><br><br><div>Although the title references Shakespeare, the connection is thematic rather than illustrative. Marini evokes the emotional intensity and existential drama associated with Shakespearean tragedy—conflict, power, instability—through dynamic relationships rather than narrative detail. The horse and rider, a recurring motif throughout Marini’s career, function here as symbolic protagonists rather than literal subjects. As the artist himself noted, “My equestrian figures are symbols of the anguish that I feel when I survey contemporary events,” and this sense of unease is palpable in the fractured forms and off-balance poses that animate the composition. </div><br><br><div> </div><br><br><div>Best known as one of the great sculptors of the twentieth century, Marini demonstrates in this suite his mastery of printmaking as an expressive language. The combination of aquatint’s tonal depth with painterly applications of tempera allows for both structural clarity and emotional immediacy. <em>Marino from Shakespeare I </em>stands as a compelling example of Marini’s late graphic work, translating his sculptural vocabulary into a vivid, modern meditation on the human condition. </div> <div>Marino Marini’s <em>Marino from Shakespeare I </em>(1977) is a vibrant and theatrically charged work on paper, executed in tempera over aquatint and drawn from the celebrated Marino from Shakespeare portfolio. The composition is animated by bold, gestural forms and a heightened palette of oranges, yellows, reds, and lilac that infuse the scene with dramatic urgency. A central equine form dominates the image, flanked by attenuated human figures whose raised arms and angled bodies suggest performance, confrontation, or ritualized movement. </div><br><br><div> </div><br><br><div>Although the title references Shakespeare, the connection is thematic rather than illustrative. Marini evokes the emotional intensity and existential drama associated with Shakespearean tragedy—conflict, power, instability—through dynamic relationships rather than narrative detail. The horse and rider, a recurring motif throughout Marini’s career, function here as symbolic protagonists rather than literal subjects. As the artist himself noted, “My equestrian figures are symbols of the anguish that I feel when I survey contemporary events,” and this sense of unease is palpable in the fractured forms and off-balance poses that animate the composition. </div><br><br><div> </div><br><br><div>Best known as one of the great sculptors of the twentieth century, Marini demonstrates in this suite his mastery of printmaking as an expressive language. The combination of aquatint’s tonal depth with painterly applications of tempera allows for both structural clarity and emotional immediacy. <em>Marino from Shakespeare I </em>stands as a compelling example of Marini’s late graphic work, translating his sculptural vocabulary into a vivid, modern meditation on the human condition. </div> <div>Marino Marini’s <em>Marino from Shakespeare I </em>(1977) is a vibrant and theatrically charged work on paper, executed in tempera over aquatint and drawn from the celebrated Marino from Shakespeare portfolio. The composition is animated by bold, gestural forms and a heightened palette of oranges, yellows, reds, and lilac that infuse the scene with dramatic urgency. A central equine form dominates the image, flanked by attenuated human figures whose raised arms and angled bodies suggest performance, confrontation, or ritualized movement. </div><br><br><div> </div><br><br><div>Although the title references Shakespeare, the connection is thematic rather than illustrative. Marini evokes the emotional intensity and existential drama associated with Shakespearean tragedy—conflict, power, instability—through dynamic relationships rather than narrative detail. The horse and rider, a recurring motif throughout Marini’s career, function here as symbolic protagonists rather than literal subjects. As the artist himself noted, “My equestrian figures are symbols of the anguish that I feel when I survey contemporary events,” and this sense of unease is palpable in the fractured forms and off-balance poses that animate the composition. </div><br><br><div> </div><br><br><div>Best known as one of the great sculptors of the twentieth century, Marini demonstrates in this suite his mastery of printmaking as an expressive language. The combination of aquatint’s tonal depth with painterly applications of tempera allows for both structural clarity and emotional immediacy. <em>Marino from Shakespeare I </em>stands as a compelling example of Marini’s late graphic work, translating his sculptural vocabulary into a vivid, modern meditation on the human condition. </div>
Marino De Shakespeare I197748,58 x 39,37 cm(48,58 x 39,37 cm) tempera sobre aguatinta sobre papel
Procedencia
Fondazione Marino Marini, Pistoia
Colección privada, adquirida de la anterior, 2006
Sotheby's, Nueva York, 14 de noviembre de 2023, lote 115
Colección privada, adquirida de la anterior
Marino Marini, Marino from Shakespeare I (1977), es una obra vibrante y teatral sobre papel, realizada en témpera sobre aguatinta y basada en la célebre carpeta Marino from Shakespeare. La composición está animada por formas gestuales audaces y una paleta intensificada de naranjas, amarillos, rojos y lilas que infunden a la escena una urgencia dramática. Una forma equina central domina la imagen, flanqueada por figuras humanas atenuadas cuyos brazos levantados y cuerpos angulados sugieren una actuación, una confrontación o un movimiento ritualizado.





Aunque el título hace referencia a Shakespeare, la conexión es temática más que ilustrativa. Marini evoca la intensidad emocional y el drama existencial asociados a la tragedia shakespeariana —conflicto, poder, inestabilidad— a través de relaciones dinámicas más que de detalles narrativos. El caballo y el jinete, un motivo recurrente a lo largo de la carrera de Marini, funcionan aquí como protagonistas simbólicos más que como sujetos literales. Como señaló el propio artista: «Mis figuras ecuestres son símbolos de la angustia que siento cuando observo los acontecimientos contemporáneos», y esta sensación de inquietud es palpable en las formas fracturadas y las poses desequilibradas que animan la composición.


 


Conocido como uno de los grandes escultores del siglo XX, Marini demuestra en esta serie su dominio del grabado como lenguaje expresivo. La combinación de la profundidad tonal del aguatinta con las aplicaciones pictóricas de la témpera permite tanto la claridad estructural como la inmediatez emocional. Marino from Shakespeare I es un ejemplo convincente de la obra gráfica tardía de Marini, que traduce su vocabulario escultórico en una meditación vívida y moderna sobre la condición humana.
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