Locarno, Pinacoteca Casa Rusca, Marino Marini, March - August 1999, p. 204 (illustrated p. 205); this exhibition later travelled to London, European Academy for the Arts & Accademia Italiana
L. Vitali, Marini, Florence, 1946, p. 36 (illustrated p. 37; dated ‘1945’);
E. Carli, ‘Marino Marini’, in Arte Moderna Italiana, no. 29, Milan, 1950 (illustrated pl. XXIX; dated ‘1944’);
U. Apollonio, Marino Marini, Scultore, Milan, 1953, p. 34 (detail illustrated pl.68; dated ‘1945’);
H. Read, G. di San Lazzaro & P. Waldberg, Marino Marini, Complete Works, Milan, 1970, no. 166, p. 345 (illustrated);
C. Pirovano, Marino Marini, Scultore, Milan, 1972, no. 175 (illustrated);
M. Meneguzzo, Marino Marini, Cavalli e cavalieri, Milan, 1997, no. 23, p. 211 (illustrated);
Fondazione Marino Marini, Marino Marini, Catalogue Raisonné of the Sculptures, Milan, 1998, no. 212, p. 153 (illustrated).
Karl von Schumacher, Schloss Mauensee, Lucerne, a gift from the artist, and thence by descent to the present owners, which featured in an important Swiss private collection
About Marino Marini
One of Italy’s most celebrated sculptors of the 20th century, Marino Marini primarily produced figurative bronze sculptures, though his practice also included paintings, drawings and etchings. Marini drew on the tradition of Etruscan and northern European sculpture, reinterpreting classical themes such as the female nude, the portrait bust, and the equestrian figure, which he combined with aspects of modernism—in particular exaggerated and elongated forms. Towards the end of his career Marini’s sometimes-monumental sculptures became increasingly abstracted. On trips to Paris and New York, he associated with Giorgio de Chirico, Jean Arp, Max Beckmann, and Alexander Calder, among other major modernist artists.
Italian, 1901-1980, Pistoia, Italy, based in Viareggio, Italy