- 72
Marino Marini
Description
- Marino Marini
- La promessa
- signed MM (lower left)
- oil on canvas
- 154.5 by 154.5cm.
- 60 7/8 by 60 7/8 in.
Provenance
Carl & Norma Djerassi, Palo Alto, California (acquired from the above in 1966. Sold: Sotheby's, New York, 10th May 1988, lot 53)
Purchased at the above sale by the present owner
Exhibited
San Francisco, San Francisco Museum of Modern Art, Bay Area Collects, 1983, no. 65
Literature
Abraham Marie Hammacher, Marino Marini. Sculpture, Painting, Drawing, London, 1970, illustrated in colour p. 223
Herbert Read, Patrick Waldberg & Gualtieri di San Lazzaro, Marino Marini, Complete Works, New York, 1970, no. 219, illustrated p. 428
Erich Steingräber & Lorenzo Papi, Marino Marini Paintings, Johannesburg, 1989, no. 320, illustrated in colour p. 163 (with incorrect measurements)
Condition
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."
Catalogue Note
In both composition and subject matter, La promessa is the amalgamation of various influences on Marini’s art. The motif of the horse and rider is rich in classical association, referencing the great tradition of equestrian statuary in Italian artistic and political culture. Long considered to be the paradigm of imperial authority, the subject is subverted in Marini’s works, often exposing the inability of man to overcome the power of the horse. Furthermore, the motif of the acrobat echoes the images of harlequins and circus performers found in Picasso’s Rose period paintings. While Marini derived his technique of fragmented forms from the Cubists, the depiction of a dynamic performance and bodies in motion certainly had its inspiration in the work of the Futurist painters. The focal point of the present work is the area where the figures of horse and rider overlap, from which a radiating energy seems to spread across the canvas.