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| Image | Last Sale Date | Title | Edition No. | Last Sale | Last Sale Auction House | Last Sale Location | |
|---|---|---|---|---|---|---|---|
| Jun 4, 2019 | Piccolo cavaliere | Dorotheum | Vienna | ||||
sculpture
39.4 cm (15.51 in)
ceramic, painted and glazed
Lorenzo Papi Collection, Florence
Attilio Bacci Collection, Milan
European Private Collection
G. di San Lazzaro, P. Waldberg & H. Read, Marino Marini, Complete Works, New York, 1970, no. 251, ill.
C. Pirovano, Marino Marini Scultore, Milan, 1972, no. 257, ill.
M. Meneguzzo, Marino Marini Cavalli e Cavalieri, Milan, 1997, no. 46, ill.
Fondazione Marino Marini (ed.), Marino Marini: Catalogue raisonné of the Sculptures, Milan, 1998, no. 325 (another version ill.)
ceramic, painted and glazed, height 39.4 cm
Executed in an edition of four + one variant. This work is unique.
This work is accompanied by a certificate of authenticity signed by the artist.
Provenance:
Lorenzo Papi Collection, Florence
Attilio Bacci Collection, Milan
European Private Collection
Literature:
G. di San Lazzaro, P. Waldberg & H. Read, Marino Marini, Complete Works, New York, 1970, no. 251, ill.
C. Pirovano, Marino Marini Scultore, Milan, 1972, no. 257, ill.
M. Meneguzzo, Marino Marini Cavalli and Cavalieri, Milan, 1997, no. 46, ill.
Fondazione Marino Marini (ed.), Marino Marini: Catalog raisonné of the Sculptures, Milan, 1998, no. 325 (another version ill.)
"Equestrian statues have been served, through the centuries, a kind of epic purpose. They put out to be a triumphant hero, a conqueror like Marcus Aurelius ... In the past fifty years, this ancient relationship between man and beast has been transformed. The horse has been replaced, in its economic and military functions, by the machine, by the tractor, the automobile or the tank. "
Marino Marini
Marino Marini owed his international fame in the 1950s to his "cavalieri", or equestrian figures - an object but modern subject combined with the overwhelming weight of an ancient iconographic tradition. But Marini offers no monuments of triumph, no symbols of power. His riders are tragic figures. They are representatives of the drama of humanity, and show as a striking reference to the gloomy existential conditions of the post-war period.
Marini's early equestrian figures still convey an impression of relative balance: the rider controls the animal and is clearly distinct from it (as in the present work). Later on, the rider merges with the animal, becoming more and more powerless. Finally, the horse collapses to the ground, as in Saul's conversion, and the rider is thrown from it. Hard edges and uneven surfaces reinforce the over-all impression of disharmony.
Munich, Residence, March - April 1984, Marino Marini, Sculptures, Paintings, Drawings, exh. cat.
