Marino Marini

A gift from the artist to the mother of the present owner in the early 1950s

Executed on paper which has been laid down on canvas by the artist. There are scattered areas of retouching in the white painted borders and in the blue-grey background, visible under ultra-violet light. Apart from a repaired tear to the paper in the white border towards the bottom of the right edge, and some small losses to the ink, this work is in good condition. Colours: In comparison with the printed catalogue illustration, the colours are overall fairly accurate, although slightly frehser in original.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Giocoliere e cavallo is a fine example of Marino Marini's pictorial works at their most rigorous and vital. Both in contour and tone, the composition achieves a feeling of balance and unity rarely attained with such a sculptural subject matter in two dimensions. The horse is captured both in profile and frontally, its implied motion barely interrupted by the agency of either accompanying figure. At the same time, Marini conveys a certain unity of human and animal as the left leg of the female stands in for the front leg of the horse which has been concealed. A series of perpendicular lines in the background impose a feeling of depth and perspective on the otherwise planar composition. Form and volume are evoked using a reduced yet effectively contrasted palette. Through the dramatic juxtaposition of white and blue hues against black contours, Marini renders his figures palpable suggesting the tenacity of every muscle.

The motif of the horse and rider in Marini's œuvre is rich in classical association, referencing the great tradition of equestrian statuary in Italian artistic and political culture. Long considered to be the paradigm of imperial authority, the subject is subverted in Marini's works, often exposing the inability of man to overcome the power of the horse. In the present work, however, the horse is tamed by the two figures, depicted with grace and assurance reminiscent of classical sculpture. Furthermore, the motif of the juggler in the present work echoes the images of harlequins and circus performers found in Picasso's Rose period paintings.