Berlin Art@Site Marino Marini Miracolo

Marino Marini


Miracolo, L’idea di un imagine

On the surface of Miracolo we see boxes and lines. This looks like charred wood.
In addition to the shades of grey we also see mint green and old green colors. It seems that there has been brass in the timber, such as nails in the old floor beams.
The man is torped. The legs are clamped around the horse as if it should be the last resort. The arms of the man are missing. The man is wearing something what must have been a bold and impressive collar. Nothing is left of this glory. The man's face is onrecognizable. The man is at a dead end.
The body of the horse is barely recognizable. We can tell of a face, of front legs and of hind legs, but we miss their details. The torso is spread out as if the horse is longing for something. The neck and the head are reaching out but are also collapsing. The desire is hopeless and needs to be abandoned.
Miracolo is hopeless and is marked for death. Respect.
By Theo,

Over het oppervlakte van Miracolo zien wij blokjes en lijnen. Dit lijkt op verkoold hout.
Naast de grijze tinten zien we ook mintgroene en oud groene kleuren. Het lijkt erop dat er in het hout ook koper zou zijn, zoals spijkers in oude vloerbalken.
De man is verstijft. De benen zijn geklemd om het paard alsof die de laatste redding moet zijn. De armen van de man ontbreken. De man draagt iets wat ooit een stoere en indrukwekkende kraag is geweest. Van deze glorie is niets meer over. Het gezicht van de man is onherkenbaar. Deze man is op een dood punt.
Het lichaam van het paard is nauwelijks herkenbaar. Wij weten van een gezicht, van voorbenen en van achterbenen, maar we missen hun details. De romp is ver uiteen getrokken en het lijkt alsof het paard ergens naar verlangt. De hals en het hoofd reiken naar voren maar zakken ook ineen. Het verlangen is hopeloos en moet opgegeven worden.
Miracolo is hopeloos en ten dode opgeschreven.
Door Theo,
The image consists of a rearing horse, which for fear of hitting a nearby bomb, its rider off. It symbolizes the defenselessness of people in war situations.
Bei dieser Arbeit Marinis handelt es sich – im Gegensatz zu den bekannteren Arbeiten seines Schaffens – um eine fast völlig abstrahierte Form der Darstellung von Pferd und Reiter, wobei der obere Teil der Plastik und die aufstrebende Bewegung an viele seiner Pferdedarstellungen erinnert.
Der dominierende Teil der Gestaltung ist das diagonal nach oben regende Element (das Pferd) auf einem Fuß mit dreieckigem Grundriss.
Ein weiteres völlig abstraktes Element strebt in die Waagerechte, diese beiden Achsen markieren, analog zu anderen Skulpturen Marinis, das sich aufbäumende Pferd und den stürzenden Reiter.
Die Plastik ist auf einem rechteckigen, kubusähnlichen Betonsockel montiert. Die Basis der grün patinierten Bronze wird durch eine viereckige Plinthe gebildet, wobei das Objekt selbst nur an wenigen Stellen direkt auf der Plinthe steht und wenige Zentimeter über ihr zu schweben scheint.
In this work Marinis is in contrast to the more well-known Works of his work – an almost completely abstracted Form of the presentation of horse and rider, the upper part of the plastic and the emerging movement is reminiscent of many of his horse depictions.
The dominant part of the design plan is the diagonal to the top of horrific Element (the horse) on a foot with a triangular base.
Another completely abstract Element aims in the Horizontal, these two axes mark, similar to other sculptures Marinis, the prancing horse and the dashing rider.
The sculpture is mounted on a rectangular, cube-like concrete base.The base of the green patinated Bronze is formed by a rectangular plinth, where the object itself is only a few Places directly on the plinth and to float a few inches above her seems to be.
Text: Susanne Kähler / Jörg Kuhn.
Il Miracolo sets a fallen rider with horse for Grande. Horse and rider are stylized. The image is posted to commemorate on March 12, 1945 to the Pleinweg in reprisal for the assassination of two members of the Sicherheitsdienst twenty civilians by the occupying forces was shot dead.
The fallen rider, such as work also is called, was created as an autonomous work of art by Marini. Only later was the a Memorial.
Marino Marini (1901 – Viareggio, Pistoia, 1980) was one of the best known Italian sculptors of the modern age. In 1917 he began his studies at the Accademia di Belle Arti in Florence. Although he also painted and drew, was still his main sculpting art.
In 1935 he won the Quadriennale di Roma and in 1936 Marini moved to Switzerland, where he in Zurich and Basel the sculptors Alberto Giacometti, Germaine Richier and Fritz Wotruba struck frequently. His participation in an exhibition in New York in 1950 led to encounters with artists such as Hans Arp, Max Beckmann, Alexander Calder, Lyonel Feininger and Jacques Lipchitz.
He visited in Europe the sculptor Henry Moore in London and suggested works in Hamburg and Munich.
He was invited for the Documenta III in 1964 in Kassel in 1955 and I. Marino Marini was inspired by the archaic period in Greece and by the design of the Etruscan art. The motives female nude, portrait busts and riders on horseback are the central themes of Marini's work. His work became increasingly abstract over the years. His works are located in all major museums and parks, as well as in many cities in the public space in the world.