Marino Marini

Italian sculptor. Born in Pistoia, he studied at the Florentine Academy of Fine Arts. Based on his experience with ancient sculpture, especially Etruscan art, he started out with sculptures of human figures full of archaic volume. In the 1930s, "horses and knights" became his central theme, which continued until the 1960s. He also produced a series of female figures, "Pomona," which also expressed an ancient image of motherhood. He went to Switzerland to avoid the Second World War, and during that time he met Arp, and his style showed an expressionistic tendency, and his horse and knight figures added a sense of intense movement. After the war, he returned to Milan, and reached the limit of figuration, which could be called abstract, but even there he did not lose the vitality of his subjects. He won the Grand Prize for Sculpture at the Venice Biennale in 1948 and 1952. He also left behind many lithographs and other prints.

[Ogawa Hiroshi]

"Azuma Kenjiro Commentary: Fabry World Sculpture Collection 17 Marini" (1972, Heibonsha)

Source: Shogakukan Encyclopedia Nipponica About Encyclopedia Nipponica Information | Legend

イタリアの彫刻家。ピストイアに生まれ、フィレンツェの美術学校に学ぶ。古代彫刻、とくにエトルリア美術の体験を根底にしながら、アルカイックな量感に満ちた人間像の彫刻から出発する。1930年代には「馬と騎士」が中心的なテーマとなり、それは60年代まで一貫して続く。さらに女性像「ポモナ」のシリーズがあり、そこでも古代的な母性のイメージが表される。第二次世界大戦を避けるためにスイスに赴き、その間アルプと知り合ったことなどから、作風は表現主義的な傾向を示し、馬と騎士の像は激しい運動感を加える。戦後はミラノに戻り、抽象的とまでいえる具象の限界に達するが、そこでもなお対象の生命力を失わない。48年と52年のベネチア・ビエンナーレ展で彫刻大賞を受賞。なお、石版などの版画も多く残している。

［小川　煕］

『吾妻兼治郎解説『ファブリ世界彫刻集17　マリーニ』（1972・平凡社）』

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