Art@Site Marino Marini Der Krieger Nuernberg

Marino Marini


Der Krieger

Germanisches Nationalmuseum
It is difficult to describe this artwork with words. The difficulty is that I see multiple objects while none of them is worked out. I see a figure which is bended forward. Perhaps, there is also another person who is clinging to the other figure. I can see two paws and a torso perhaps of a dog. On the backside is a repulsive object.
From the first moment on I feel a mixture of disgust, fear and sadness. Here something gruesome takes place.
What to think of this unrecognizable face of the figure at the top? This seems to me a violent character. This makes me afraid. Humanoid is removed from this figure.
Yes, I’m almost certain there is also an anxious person who is suppressed. This looks desolate. I’m looking at it but I cannot help. We cannot move the bronze statue’s callous heart.
Der Krieger by Marino Marini shows indescribable hardness, voilence and agony.
By Theo,

Dit kunstwerk is moeilijk te beschrijven. Het moeilijke is dat ik meerdere objecten zie, die geen van allen zijn uitgewerkt. Ik zie een figuur die naar voren buigt. Misschien ook een andere persoon die de figuur vast klampt. Ik zie twee poten en een romp die van een hond lijken. Aan de achterkant staat een afstotelijk object.
Vanaf het eerste moment voel ik een mengeling van afschuw, angst en verdriet. Hier vindt iets gruwelijks plaats.
Wat te denken van hgeeft is het onherkenbare gezicht van de persoon aan de bovenzijde? Dit lijkt mij een gewelddadig figuur. Hier wordt ik bang van. Het menselijke is verdwenen uit deze figuur.
Jah, nu weet ik het haast zeker, volgens mij is er ook een angstige persoon, die wordt onderdrukt. Dit ziet er troosteloos uit. Ik kijk ernaar zonder dat ik helpen kan. Wij kunnen dit bronzen beeld niet verwurmen.
Der Krieger van Marino Marini toont onbeschrijfelijke hardheid, geweld en doodsangst.
Door Theo,
Wandering to the Kornmarkt, in front of the Germanic National Museum we find The Warrior, wich was shaped by Marino Marini in the early 60s. The sculpture is a highly abstracted form of an equestrian monument, which geometric shapes and rough surfaces show pain and suffering.
In Marinis Arbeit vor dem alten Haupteingang ist das Pferd mit eingeknickten Vorderbeinen zu Boden gesunken. Es wendet den Kopf zurück zu dem Krieger-Reiter, der tödlich erstarrt über seinem Körper liegt. In den kubischen Formen durchdringen sich die Leiber wie zu einem abstrakten Landschaftsgefüge. Marinis Reiter-Kompositionen symbolisieren die Aufhebung des Menschen in der Natur, die er zu beherrschen und sich in seiner Verblendung über "anderes" Leben erheben zu können glaubt. Der Künstler beschwor in seinem Werk den Glauben an das unauflösliche Schöpfungsganze, den Glauben an das Geschöpf und die dem Zusammenbruch entwachsende Kraft des Neuanfangs. Ähnliche Arbeiten wie die in Nürnberg betitelte er mit "Invocazione" (Anrufung), "Il Grido" (Hilferuf) oder "Il Miracolo" (Wunder).
Marini Marino (1972): “My equestrian statues express the torment caused by the events of this century. the restlessness of my horse increases with each new work, the rider is always more exhausted, he has lost his domination of the beast and the catastrophes to which he succumbs resemble those that destroyed sodom and pompeii. I aspire to make visible the last stage of destruction of a myth, of the myth of heroic and victorious individualism, the humanists' man of virtue. my work in the last years doesn't want to be heroic, but tragic.”
Marino Marini (27 February 1901 – 6 August 1980) was an Italian sculptor.
Marini developed several themes in sculpture: equestrian, Pomonas (nudes), portraits, and circus figures. He drew on traditions of Etruscan and Northern European sculpture in developing these themes. His aim was to develop mythical images by interpreting classical themes in light of modern concerns and techniques.
Marini is particularly famous for his series of stylised equestrian statues, which feature a man with outstretched arms on a horse. The evolution of the horse and rider as a subject in Marini's works reflects the artist's response to the changing context of the modern world. This theme appeared in his work in 1936. At first the proportions of horse and rider are slender and both are "poised, formal, and calm." By the next year the horse is depicted rearing and the rider gesturing. By 1940 the forms are simpler and more archaic in spirit; the proportions squatter.
After World War II, in the late 1940s, the horse is planted, immobile, with neck extended, ears pinned back, mouth open. An example, in the Peggy Guggenheim Collection in Venice, is "The Angel of the City," depicting "affirmation and charged strength associated explicitly with sexual potency." In later works, the rider is, increasingly, oblivious of his mount, "involved in his own visions or anxieties." In the artist's final work, the rider is unseated as the horse falls to the ground in an "apocalyptic image of lost control" which parallels Marini's growing despair for the future of the world.