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MACI - Museum of Contemporary Art of Imperia verified

Imperia, Liguria, Italy closed Visit museumarrow_right_alt

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Josef Albers - Gentle venture
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Alberto Biasi - Polytype 72
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Max Bill - Fourth Black
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Enrico Castellani - Gray surface
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Piero Dorazio - Blue call
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Lucio Fontana - Spatial concept, Waits, 7 cuts
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Lucio Fontana - Spatial, Waiting, Red concept
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Enzo Mari - Structure n. 731
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Marino Marini - Horse and Rider
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Ennio Morlotti - Wild Centaurea
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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 - Polytype 72
Max Bill - Fourth Black
Enrico Castellani - Gray surface
Piero Dorazio - Blue call
Lucio Fontana - Spatial concept, Waits, 7 cuts
Lucio Fontana - Spatial, Waiting, Red concept
Enzo Mari - Structure n. 731
Marino Marini - Horse and Rider
Ennio Morlotti - Wild Centaurea
Carlo Nangeroni - Continuous serial
Robert Delaunay - Landscape
Mauro Reggiani - Composition
Gerhard Richter - Grey
Victor Vasarely - G.D.4

Other works on display

Description

During the 1930s, Marino Marini gradually abandoned painting and graphics to devote himself to sculpture. He immediately defines the themes most dear to him: among these the horse and the rider are part of a series, to which the sculpture you see on display belongs, which will become one of the most emblematic lines of research for the artist. Marini explains that: «There is the whole history of humanity and nature in the figure of the rider and the horse, in every age. It's my way of telling the story. He is the character I need to give shape to the passion of man (…) ». This small sculpture probably belongs to the first tests of the Horse and Knight series, to which the sculptor has been dedicating himself since 1935. In fact, a single piece of chalk dates back to the same year, entitled Piccolo Cavaliere, which coincides with the bronze work that today we can admire it in the Invernizzi Collection. Marino Marini's unscrupulous inventive freedom reinterprets Etruscan-Roman antiquity in an expressionist key, giving life to an archaic classicism stripped of any kind of monumentalism, typical of the thirties and forties. Marini completely overturns the classic concept of an equestrian statue: the two figures in fact appear joined to represent a primordial symbiotic unity between human and animal. Over the years, the horse and the rider become increasingly dissolved forms and almost expressionist tragic figures.

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