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拍品专文
The Marino Marini Foundation has confirmed the authenticity of this sculpture.
After Marini turned to sculpture in 1928 his works were almost exclusively limited to two themes, the female figure and the horse and rider. The latter, according to Herbert Read, "is a symbol of man riding and controlling his instincts, the horse being the symbol of the animal component in man, often specifically the erotic instincts" (op.cit., p. 11). His prime source of inspiration came from Etruscan art and medieval equestrian statues, rather than classical or renaissance examples, and as the subject evolved from the mid-1930s onwards it became increasingly dynamic and dramatic.
When Marini was asked in the late 1960s about the increasing drama of his rearing horse sculptures he commented: "When you consider one by one my equestrian statues of the last twelve years, you will notice that each time the horseman is incapable of managing his mount, and that the animal, in its restlessness ever more riderless, comes more and more to a rigid standstill instead of rearing. I believe in the most serious way that we are heading toward the end of the world" (quoted in ibid., p. 187).
The present work's impressive scale and the expressive force of the abstracted figure of the rearing horse presage the monumental achievement of The Idea of an Image (Carandente, no. 467), conceived at the end of the 1960s. The three examples of this bronze are now preserved at The National Museum of Western Art in Tokyo, The Israel Museum in Tel Aviv and the Deutscher Bundestag in Berlin.
After Marini turned to sculpture in 1928 his works were almost exclusively limited to two themes, the female figure and the horse and rider. The latter, according to Herbert Read, "is a symbol of man riding and controlling his instincts, the horse being the symbol of the animal component in man, often specifically the erotic instincts" (op.cit., p. 11). His prime source of inspiration came from Etruscan art and medieval equestrian statues, rather than classical or renaissance examples, and as the subject evolved from the mid-1930s onwards it became increasingly dynamic and dramatic.
When Marini was asked in the late 1960s about the increasing drama of his rearing horse sculptures he commented: "When you consider one by one my equestrian statues of the last twelve years, you will notice that each time the horseman is incapable of managing his mount, and that the animal, in its restlessness ever more riderless, comes more and more to a rigid standstill instead of rearing. I believe in the most serious way that we are heading toward the end of the world" (quoted in ibid., p. 187).
The present work's impressive scale and the expressive force of the abstracted figure of the rearing horse presage the monumental achievement of The Idea of an Image (Carandente, no. 467), conceived at the end of the 1960s. The three examples of this bronze are now preserved at The National Museum of Western Art in Tokyo, The Israel Museum in Tel Aviv and the Deutscher Bundestag in Berlin.