The relationship between horse and rider is one of Marini's most celebrated themes. He fully explored the motive in both his sculptures and paintings, which are most sought-after by collectors. The subject first appears in his work in the mid 1930s, following Marini's trip to Bamberg Cathedral in Germany in 1934 where he was impressed by a thirteenth century statue of Emperor Henry II, proudly mounted on horseback.

Appealing to the artist as a romantic and classical symbol of times past, Marini's early sculptural and drawn depictions of the horse and rider are calm and steady. With the outbreak of the Second World War however, the calm order of Marini's previous work began to disintegrate and his horse would start to turn, pull and strain. “The restlessness of my horse grows with each new work”. (Marini quoted in G. Carandente, Marino Marini, Catalogue Raisonné of the Sculptures, Milan, 1998, p.14).


Tonelli Arte Moderna, Milan;
Private collection, Brescia. 


H. Read, P. Waldberg, GDi San Lorenzo, Marino Marini: Complete Works, New York 1970, p. 285, no. 299

more about Marino Marini

Marino Marini

b. 27.02.1901
Pistoia, Italy

d. 06.08.1980
Viareggio, Italy

The Italian painter and sculptor Marino Marini (1901-1980) is known for his equestrian scenes and sculptures, often featuring a man with outstretched arms on a horse. In his work, Marini was inspired by Etruscan art, with its archaic and stylistic forms. Furthermore, he was influenced by the Italian sculptor Arturo Martini (1889-1947), who he succeeded as professor at the Scuola d’Arte  . . .
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