Marino Marini

Private Collection (and sold: Sotheby's, New York, May 14, 1998,
lot 231)
Acquired at the above sale

Executed on paper laid down on canvas. There are a few slight undulations in sheet, particularly near center of top edge and center of lower quadrant. Under UV light there is a thin stroke and a nailhead size dot of inpainting at extreme right edge near bottom corner, otherwise fine. Work is in excellent condition.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Marini's horses and riders signal a departure for classical equestrian models of his predecessors as they are the embodiment of a new, raw, elemental force. Marini explained: "The nature of the relations that have existed for so long between men and horses... has been greatly changed during the last half century... it can even be said that, for the majority of our contemporaries, the horse has acquired a mythical character. Every artist is in some way a prophet...with Odilon Redon, Picasso and de Chirico, the horse has been transformed into a kind of dream, into a fabulous animal" (quoted in Patrick Waldberg, Herbert Read & Gualtieri di San Lazzaro, Marino Marini, Complete Works, New York, 1970, p. 491).

In the present work Marini showcases his ability to capture the dynamism of both horse and rider with exceptionally bold color. Franco Russoli writes that, "In Marini's paintings, action and vision (a facial expression, a gesture, a costume, a background) are transformed within the crucible of his creative imagination into pure colors, arabesques, or interlocking lines and planes. The most diverse components of his personality find expression in the variants of a language that is always governed by the metaphysical laws of style. His clear, resonant colors vibrate in lights and shadows that reveal the artist's many-faceted states of mind in terms of pure painting" (Franco Russoli, Marino Marini: Paintings and Drawings, Milan 1964, p. 30).