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The Angel of the City
2011.01.10
The Angel of the City (L'angelo della città), 1948
Bronze, 247.9 x 106 cm, including base
Marino Marini (February 27, 1901 — August 6, 1980) was an Italian sculptor.
Born in Pistoia, Marini is particularly famous for his series of stylised equestrian statues, which feature a man with outstretched arms on a horse. Probably the most famous example is The Angel of the City at the Peggy Guggenheim Collection, Venice.
Marino Marini drew on the tradition of Etruscan and Northern European sculpture in developing his themes of the female nude, the portrait bust, and the equestrian figure. By interpreting classical themes in light of modern concerns and with modern techniques, he sought to contribute a mythic image that would be applicable in a contemporary context. The evolution of the subject of the horse and rider reflects Marini’s personal response to that changing context. The theme first appears in his work in 1936, when the proportions of horse and rider are relatively slender and both figures are poised, formal, and calm. By the following year the horse rears and the rider gestures. In 1940 the forms become simplified and more archaic in spirit, and the proportions become squatter. By the late 1940s the horse is planted immobile with its neck extended, strained, ears pinned back, and mouth open, as in the present example, which conveys affirmation and charged strength associated explicitly with sexual potency.
Bronze, 247.9 x 106 cm, including base
Marino Marini (February 27, 1901 — August 6, 1980) was an Italian sculptor.
Born in Pistoia, Marini is particularly famous for his series of stylised equestrian statues, which feature a man with outstretched arms on a horse. Probably the most famous example is The Angel of the City at the Peggy Guggenheim Collection, Venice.
Marino Marini drew on the tradition of Etruscan and Northern European sculpture in developing his themes of the female nude, the portrait bust, and the equestrian figure. By interpreting classical themes in light of modern concerns and with modern techniques, he sought to contribute a mythic image that would be applicable in a contemporary context. The evolution of the subject of the horse and rider reflects Marini’s personal response to that changing context. The theme first appears in his work in 1936, when the proportions of horse and rider are relatively slender and both figures are poised, formal, and calm. By the following year the horse rears and the rider gestures. In 1940 the forms become simplified and more archaic in spirit, and the proportions become squatter. By the late 1940s the horse is planted immobile with its neck extended, strained, ears pinned back, and mouth open, as in the present example, which conveys affirmation and charged strength associated explicitly with sexual potency.
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excellent captured from all angles!!!
Davorka · 2011-01-10: 11:53
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Belle évocation sans équivoque ! J'aime la 1, la 3 qui illustrent bien cette force associée à la puissance sexuelle et la dernière dans laquelle cet homme semble embrasser le monde. Superbe set !
josy63 · 2011-01-10: 12:15
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Awesome set.
joycephotography · 2011-01-10: 12:36
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Great from all angles :)
cariad · 2011-01-10: 12:54
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I remember seeing one of these at an exhibition in London and being so impressed. Thanks for reminding me.
SADHYA · 2011-01-10: 13:13
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Brilliant captures !!
finbarr · 2011-01-10: 16:51
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:DDDD great!!!
????? · 2011-01-10: 16:59
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super
openbelarus · 2011-01-11: 03:34
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well what to say, I think the pics and the texs says all, nice post
Mertxe · 2011-01-11: 07:17
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Fantastic!
davidcardona · 2011-01-11: 10:11
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I saw one of his equestrian statues in Rotterdam, in the Boijmans!
atszabo · 2011-02-08: 18:10
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