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Collection:
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ADJUNCT MODULE B: ITALIAN ART
LocalCollection
ADJUNCT MODULE B: ITALIAN ART
Collection
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Preferred Title:
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Cavaliere 3 (1953)
Work_PrefTitle
Cavaliere 3 (1953)
Preferred Title
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Image View:
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Detail, simplified, expressive face
Image_Title
Detail, simplified, expressive face
Image View
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Creator:
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Marino Marini (Italian sculptor, 1901-1980)
Agent_Display
Marino Marini (Italian sculptor, 1901-1980)
Creator
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Location:
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repository: Museo di Marino Marini (Florence, Tuscany, Italy)
Work_Location_Type_D isplay
repository: Museo di Marino Marini (Florence, Tuscany, Italy)
Location
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Location Note:
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in the former church of San Pancrazio
Work_LocationNotes
in the former church of San Pancrazio
Location Note
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GPS:
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43.771836 11.249975
GPS
43.771836 11.249975
GPS
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Date:
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1953 (creation)
Work_DateDisplay
1953 (creation)
Date
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Cultural Context:
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Italian
Work_Culture
Italian
Cultural Context
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Style Period:
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Expressionist; Twentieth century
Work_StylePeriodDisp lay
Expressionist; Twentieth century
Style Period
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Work Type 1:
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sculpture (visual work)
Work_Worktype1
sculpture (visual work)
Work Type 1
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Work Type 2:
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equestrian statue
Work_Worktype2
equestrian statue
Work Type 2
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Classification:
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Sculpture and Installations
Work_Classification
Sculpture and Installations
Classification
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Material:
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cement
Work_MaterialDisplay
cement
Material
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Technique:
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casting (process)
Work_Technique
casting (process)
Technique
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Subjects:
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abstraction; animal; cycles or series; human figure; horsemen; horses; knights; horse and rider
Work_Image_SubjectDi splay
abstraction; animal; cycles or series; human figure; horsemen; horses; knights; horse and rider
Subjects
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Description:
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After 1946 Marini returned to Milan where he produced variations on the theme of Horsemen, Warriors and Jugglers, which expressed ever more urgently Marini’s anguish over the uncertainties of the time. They symbolized the destruction of the myth of the heroic victor. In contrast with the noble figures of the 1930s, the Horsemen reappeared in 1946 as disorientated, tragic characters. A sense of tension is conveyed by the contrast between the horizontal lines of the vast back, long lowered neck and flattened head of the horse, and the vertical horseman, erect with fear. The harshness of the image is increased by the simplification of the forms, the rider without ears and with round, sunken eyes. As well as using bronze, Marini appreciated that the simplicity of stone and particularly clay and wood was well suited to this drastic simplification of form. (Source: Grove Art Online; http://www.oxfordart online.com/)
Work_Description_Sou rce
After 1946 Marini returned to Milan where he produced variations on the theme of Horsemen, Warriors and Jugglers, which expressed ever more urgently Marini’s anguish over the uncertainties of the time. They symbolized the destruction of the myth of the heroic victor. In contrast with the noble figures of the 1930s, the Horsemen reappeared in 1946 as disorientated, tragic characters. A sense of tension is conveyed by the contrast between the horizontal lines of the vast back, long lowered neck and flattened head of the horse, and the vertical horseman, erect with fear. The harshness of the image is increased by the simplification of the forms, the rider without ears and with round, sunken eyes. As well as using bronze, Marini appreciated that the simplicity of stone and particularly clay and wood was well suited to this drastic simplification of form. (Source: Grove Art Online; http://www.oxfordart online.com/)
Description
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Collection:
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Adjunct Module B: Italian Art
LocalCollection
Adjunct Module B: Italian Art
Collection
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Identifier:
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7A1-MARINI-MM-C3-A06
Image_OriginalVendor ID
7A1-MARINI-MM-C3-A06
Identifier
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Rights:
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© Scott Gilchrist, Archivision, Inc.
Image_Rights
© Scott Gilchrist, Archivision, Inc.
Rights
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