Ets - Gesigneerd - VII/XX - Zonder lijst - 1959
|Titel van kunstwerk:||Impressioni|
|Verkocht met lijst:||Nee|
Author: Marino Marini.
Sheet size: cm 50 x 70.
Copy no. VII/XX.
Published on Catalogo generale dell'opera grafica, at page 50.
Warranty certificate issued by the gallery.
Marino Marini was born in Pistoia in 1901 and died in Viareggio in 1980. He studied at the Academy of Fine Arts in Florence, where he attended engraving and painting courses, at first, then sculpture; Galileo Ghini and Domenico Trentacoste were the teachers who guided his technical training; Marino from the beginning of his career experimented with various drawing techniques and materials such as antique plastic. He pays particular attention to archaic documents, in a range which will gradually become very wide. In 1926 he resided permanently in Florence and the following year, on the occasion of the Exhibition on Decorative Arts, he met Arturo Martini in Monza who, two years later, chose him as his successor in teaching at the ISIA, at Villa Reale in Monza, where the master Pistoiese studied and taught until 1940. In the late 1920s, Marino formed part of the Tuscan Novecento group with whom, in December 1928, he took part in the exhibition at Galleria Gussoni in Milan. In 1929 he stayed in Paris and established contacts with many artists including De Pisis, Picasso, Maillol, Lipchhitz, Braque, Laurens, whose studies he attended. Having settled permanently in Lombardy, he exhibited at the second exhibition on Italian 20th-century art, and later participated in group exhibitions in Nice, Basel and Stockholm. In 1932 he held his first solo exhibition. His teaching activity did not prevent him from making frequent trips abroad, where he renewed his contacts with exponents of the most advanced artistic culture, such as De Chirico, Kandisky, Campigli and Gonzales. He participated in the exhibitions of the Venice Biennale, the Milan Triennale and the Rome Quadrenniale. In the 1935 edition of the latter he was awarded the prize for sculpture. In those years, some of the typical themes of Marino's sculpture were defined, such as the knight and the ‘Pomona’. In 1940 he left teaching at Monza for the National Academies of Turin and Brera. In September 1942, his home in Milan and his studio in Monza were bombed, and he found a shelter in Tenero, not far from Locarno. During the years of his retrea,t he established relationships with artists such as Giacometti, Wotruba, Banninger, Hubacher, Haller, Richier, and exhibited in Basel, Bern and Zurich. In 1946 he returned to Milan and, shortly thereafter, he resumed teaching at Brera. In 1948 he participated in the Bienniale, where he met Moore. In 1950, a careful promotion of Marino's work started between America and Europe. In 1952 he was awarded the International Grand Prix in sculpture at the Venice Biennale. The theme of the Knight passed through the graphic compositions called ‘Miracle’, ‘Warrior’ and ‘Cry’. His works are on display in museums all around the world.
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