Marino Marini

One of Italy’s most significant sculptors of the 20th century, Marino Marini (1901–1980) was celebrated for his expressive depictions of the human figure and equestrian themes. Born in Pistoia, Tuscany, Marini initially trained as a painter at the Accademia di Belle Arti in Florence. However, he soon shifted his focus to sculpture, where he found his true calling.

Shaped as powerful and dynamic forms, Marino Marini’s sculptures often explore the relationship between horse and rider. Their stylised and abstracted figures convey a sense of movement and emotion. His horses and riders reflect his fascination with the ancient Etruscan art and his deep connection to Italian cultural heritage. These works often depict moments of tension or tranquillity, capturing the timeless and universal aspects of this relationship. In 2010 Christie’s sold Marini’s Cavaliere (conceived in 1951) for £4,465,250, a world auction record for the artist.

In addition to his horses and riders, Marini developed other central themes in his sculptures, including nudes, portraits and circus figures. The artist’s interest in the Etruscans who had peopled the area around his native Pistoia had not only been patriotic, but had also been based on the culture’s originality. His aim was to develop mythical images by interpreting classical themes in light of modern concerns and techniques.

In 1929 Marini accepted a professorial position at the Scuola d’Arte di Villa Reale in Monza, which he retained until 1940. During this period, Marini travelled frequently to Paris where he associated with Massimo Campigli, Giorgio de Chirico and Alberto Magnella. In 1936 he moved to Switzerland, often frequenting Zurich and Basel where befriended contemporaries such as Alberto Giacometti, Germaine Richier and Fritz Wotruba.

One of the great watershed moments in Marini’s career was his 1950 visit to the United States, especially during his stay in New York. There, he was struck by the modernity and feverish expansion of the place, with its gleaming towers and furious bustle, but also by the absence of European references. Some of his works from this time onwards were marked by jagged edges and jutting angles reminiscent of the harsh lines of the modern city or the automobile.

While Marini’s sculptures tackle universal themes, they are also deeply intimate works. After the early 1950s, an increasing stylisation, tainted by self-consciousness, would be evident in his works, detracting from the subject matter. The later works became more machine influenced, with their angles and the increasingly featureless face.

Marini's work gained international acclaim during his lifetime, with major museum exhibitions including at the Museum of Modern Art in New York in 1944, as well as retrospectives at the Kunsthaus Zürich in 1962 and the Palazzo Venezie in Rome in 1966. He was awarded the Grand Prize for Sculpture at the Venice Biennale in 1952 and the Feltrinelli Prize at the Accademia dei Lincei in Rome in 1954.

The Marino Marini Museum, located in Florence, is dedicated to the artist’s work and legacy. Housed in the former church of San Pancrazio, the museum showcases a comprehensive collection of Marini’s sculptures, paintings, and drawings, offering a deep insight into his artistic journey and evolution.