Marino Marini * –
(Pistoia 1901–1980 Viareggio)
Forma e colore, 1956, signed and dated Marino 1956, oil on paper mounted on canvas, 66 x 50 cm, framed
This work is registered under number 118 with the Fondazione Marino Marini, and is accompanied by a photo-certificate, issued by Dott.ssa Maria Teresa Tosi, Pistoia, 21 December 2017.
Provenance:
Vasari Collection, Turin (acquired in the 1970s)
Galleria Romeo Toninelli, Rom
Private Collection, Italy (acquired from the above)
Private Collection, Switzerland
Literature:
Lorenzo Papi, Marino Marini Paintings, Johannesburg 1989, p. 183, no. 353 (with ill.)
Marini once remarked that every sculpture began for him as painting, as colour on a surface. Forma e colore shows this process at its most radical. Angular planes of ochre, violet, grey and black press against one another on a warm earth-toned ground. Their hatched edges and sharp diagonals read like the facets of a sculpture seen from all sides at once. The familiar motif of horse and rider, which defined Marini's work after the war, is still present, but only as an echo. It has broken apart into a dynamic constellation of form and energy. The work dates from 1956, the years of his Miracolo and Guerriero groups, when Marini's imagery grew increasingly tense and fragmented. Here the painter and the sculptor meet on equal terms.
Specialist: Joëlle Romba
(Pistoia 1901–1980 Viareggio)
Forma e colore, 1956, signed and dated Marino 1956, oil on paper mounted on canvas, 66 x 50 cm, framed
This work is registered under number 118 with the Fondazione Marino Marini, and is accompanied by a photo-certificate, issued by Dott.ssa Maria Teresa Tosi, Pistoia, 21 December 2017.
Provenance:
Vasari Collection, Turin (acquired in the 1970s)
Galleria Romeo Toninelli, Rom
Private Collection, Italy (acquired from the above)
Private Collection, Switzerland
Literature:
Lorenzo Papi, Marino Marini Paintings, Johannesburg 1989, p. 183, no. 353 (with ill.)
Marini once remarked that every sculpture began for him as painting, as colour on a surface. Forma e colore shows this process at its most radical. Angular planes of ochre, violet, grey and black press against one another on a warm earth-toned ground. Their hatched edges and sharp diagonals read like the facets of a sculpture seen from all sides at once. The familiar motif of horse and rider, which defined Marini's work after the war, is still present, but only as an echo. It has broken apart into a dynamic constellation of form and energy. The work dates from 1956, the years of his Miracolo and Guerriero groups, when Marini's imagery grew increasingly tense and fragmented. Here the painter and the sculptor meet on equal terms.
Specialist: Joëlle Romba
