Art@Site Marino Marini Miracolo

Marino Marini



Tokyo The National Museum of Modern Art
Will it work out right, you think?
This is a horse and a rider. You recognize this with the use of some imagination. This time Marino Marini created a angular version.
The horse has triangular hind legs, no front legs and a long body. The head seems point to a strong libido, if you know what I mean.
The rider is angular and seems to be constructed by beams. According to the picture, the rider seems to sit on the right side. Than the rider would be a (oldfashioned) woman. It seems that the rider is sitting reversed, is looks backwards and holds the arms contrary. But then how can the rider hold the reins?
The miscommunication between this horse and rider is complete on this Miracolo by Marino Marino. The rider is a static bar. The horse is one and all will-power. I have the feeling that i twill not work out right between these two.
By Theo,

Komt het goed, denkt u?
Dit is een paard en een ruiter. Dit herken je met een flinke scheut fantasie. Dit keer heeft Marino Marini een hoekige versie gemaakt.
Het paard heeft driehoekige achterbenen, geen voorbenen en een lang gerekt lijf. Het hoofd lijkt te wijzen op een sterk libido, als u begrijpt wat ik bedoel.
De ruiter is vierkant en lijkt geconstrueerd te zijn uit balken. Volgens de foto lijkt de ruiter aan de rechterzijde te zitten. Dan zal de rijder een (ouderwetse) vrouw zijn. Het lijkt of de ruiter verkeerd-om zit, achteruit kijkt en de armen naar achteren houdt. Maar hoe kan de ruiter dan de teugels vasthouden?
Bij deze Miracolo van Marino Marino is de miscommunicatie tussen paard en ruiter compleet. De ruiter is een statische balk. Het paard is één en al wilskracht. Het lijkt me dat het niet goed komt tussen deze twee.
By Theo,
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.
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.