拍品專文
Curt Valentin, a transplanted German art dealer, arrived in New York in 1937 to champion contemporary European art. He introduced himself to Marini in 1948 after seeing the artist's work in the first exhibition of Italian art at the Museum of Modern Art, New York. In February, 1950 Valentin gave the artist his first one-man exhibition in America at his Buchholz Gallery, including this sculpture. During his stay in New York Marini became acquainted with many American and European artists.
To experience the tension of American life in New
York was an event for Marini...New York was a
revelation of new possibilities. He saw the people,
especially American women, as products of a new way
of life. This influenced his art. Although the
motifs remained the same, in general there was a
faster, more powerful build-up of tension.... It was
once maintained that Marini surrendered to
abstraction, whose great value he acknowledged
unreservedly. But the explanation for the new change
may be found, instead, in the heightened speed and
keenness of his perception. (A.M. Hammacher, Marino
Marini, New York, 1969, p. 27)
To experience the tension of American life in New
York was an event for Marini...New York was a
revelation of new possibilities. He saw the people,
especially American women, as products of a new way
of life. This influenced his art. Although the
motifs remained the same, in general there was a
faster, more powerful build-up of tension.... It was
once maintained that Marini surrendered to
abstraction, whose great value he acknowledged
unreservedly. But the explanation for the new change
may be found, instead, in the heightened speed and
keenness of his perception. (A.M. Hammacher, Marino
Marini, New York, 1969, p. 27)