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MACI - Museo Arte Contemporanea di Imperia verified

Imperia, Liguria, IT closed Visit museumarrow_right_alt

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Josef Albers - Gentle venture
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Alberto Biasi - Polytypte 72
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Max Bill - Schwarzes viertel
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Enrico Castellani - Grey surface
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Piero Dorazio - Blue call
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Lucio Fontana - Spatial concept, Waits, cuts
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Lucio Fontana - Spatial concept, Waits, Red
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Enzo Mari - Structure number 731
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Marino Marini - Horse and horseman
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Ennio Morlotti - Wild Centaury
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Carlo Nangeroni - Continuous serial
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Robert Delaunay - Landscape
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Mauro Reggiani - Composition
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Gerhard Richter - Grey
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Victor Vasarely - G.D.4
Josef Albers - Gentle venture
Alberto Biasi - Polytypte 72
Max Bill - Schwarzes viertel
Enrico Castellani - Grey surface
Piero Dorazio - Blue call
Lucio Fontana - Spatial concept, Waits, cuts
Lucio Fontana - Spatial concept, Waits, Red
Enzo Mari - Structure number 731
Marino Marini - Horse and horseman
Ennio Morlotti - Wild Centaury
Carlo Nangeroni - Continuous serial
Robert Delaunay - Landscape
Mauro Reggiani - Composition
Gerhard Richter - Grey
Victor Vasarely - G.D.4

Other works on display

Description

Throughout the 1930s Marino Marini progressively abandons painting and graphic art to concentrate on sculpture. He immediately defines his dearest themes: among these the horse and horseman are part of a series which will become one of the artist’s most emblematic endeavours and which the sculpture you can see here on show belongs to. Marini explains that: “there is the entire history of humanity in the image of a horseman and his horse, in all eras. It is the way in which history is told. It is the character that I need to give shape to the passion of man […]”. This small sculpture probably belongs to the artist’s first attempts from the Horse and Horseman series, to which the artist was dedicated from 1935. Indeed, of the same year is a plaster sculpture – a one-off – entitled Little Horseman, which coincides with the bronze which today we can admire as part of the Invernizzi Collection. Marino Marini’s daring, inventive freedom reinterprets Etruscan- Roman antiquity in an expressionist key, giving life to an archaic classicism stripped of all types of monumentalism, typical of the 1930s and 40s. Marini completely overturns the classical concept of equestrian statues: the two figures indeed, appear conjoined as if to represent a primordial symbiotic union between human being and animal. Over the years the horse and horseman become more and more dissolved and almost expressionist-like tragic figures.

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