拍品專文
This work is one of an edition of four, the three others are in the Stedelijk Museum, Amsterdam, the Kölnisches Stadtmuseum, Cologne, and the Art Institute of Chicago.
As opposed to much of Marini's earlier work, influenced by Etruscan static, frontal statuary, examples of which can be seen on sarcophagi and funerary urns, this sculpture is a more complex dynamic, composition of diagonals. This greater tension is provided by the twist of the horse's head in contrast to its horizontal body and the rider's diagonal leaning position seated on the horse's back, his body once crossing the horse's body and his legs again contrasting with the horse's neck which is twisted round. The notion of movement however is false, the movement depicted is not of motion nor rest, but one of tense anticipation.
As sense of antiquity, relating to the earlier work is preserved in the choice of a classic subject combined with the use of a tectured surface that is enhanced by a grey/green patina.
Marini commented on his horse and rider compositions: "When you consider one by one my equestrian statues...you will notice each time that the horseman in incapable of managing his mount, and that the animal in its restlessness even more riderless, comes more and more to a rigid standstill instead of rearing. I believe in the most serious way that we are heading towards the end of a world." (H. Read, P. Waldberg and G. I. San Lazzarro, Marino Marini Complete Works, New York, 1970, p. 187).
As opposed to much of Marini's earlier work, influenced by Etruscan static, frontal statuary, examples of which can be seen on sarcophagi and funerary urns, this sculpture is a more complex dynamic, composition of diagonals. This greater tension is provided by the twist of the horse's head in contrast to its horizontal body and the rider's diagonal leaning position seated on the horse's back, his body once crossing the horse's body and his legs again contrasting with the horse's neck which is twisted round. The notion of movement however is false, the movement depicted is not of motion nor rest, but one of tense anticipation.
As sense of antiquity, relating to the earlier work is preserved in the choice of a classic subject combined with the use of a tectured surface that is enhanced by a grey/green patina.
Marini commented on his horse and rider compositions: "When you consider one by one my equestrian statues...you will notice each time that the horseman in incapable of managing his mount, and that the animal in its restlessness even more riderless, comes more and more to a rigid standstill instead of rearing. I believe in the most serious way that we are heading towards the end of a world." (H. Read, P. Waldberg and G. I. San Lazzarro, Marino Marini Complete Works, New York, 1970, p. 187).