Marino Marini

Private Collection, Italy (probably acquired directly from the artist)
Thence by descent to the present owner

Tokyo, The National Museum of Modern Art (& travelling in Japan), Marino Marini, 1978, no. 103, illustrated in the catalogue

Herbert Read, Patrick Waldberg & Gualtieri di San Lazzaro, Marino Marini, Complete Works, Milan, 1970, no. 232, illustrated p. 423
Erich Steingraber & Lorenzo Papi, Marino Marini Paintings, Johannesburg, 1989, no. 341, illustrated p. 176

The canvas is not lined. Examination under UV light reveals scattered flecks of retouching primarily within the lower right quadrant beneath the rider's leg and some further scattered spots of retouching to the centre right of the composition. There is some craquelure in places and some shrinkage visible within the thicker pigments. There are some flecks of paint loss to the centre of the lower edge and a further small area of paint loss to the upper left corner. There is an irregularity visible within the canvas edge at upper centre. This work is in overall good 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."

Composizione di Giocolieri is a superb example of the horse and rider theme, an iconic subject within Marino Marini’s work. Whilst Marini may not have consciously adopted such a subject for its symbolic connotations, the horse and rider is a universally popular motif, being derived from a classical precedent which Marini would have seen in the form of Renaissance equestrian statuary. Marini’s art underwent a stylistic shift following the Second World War, moving away from realistic figuration towards more abstract and stylised forms. In Composizione di Giocolieri the mythical figures of the horse and rider are reinterpreted in this manner so that body masses are reverted to simplified geometric shapes and vibrant colour clashes are used to model form. Marini’s use of bold swathes of colour, in particular the dominant reds, imbues the composition with a sense of drama and energy. For Marini, colour was the driving force behind his creative production: ‘The urge to paint is innate within me, like an elemental, violent need to search for colour’ (quoted in Erich Steingraber & Lorenzo Papi, Marino Marini Paintings, Johannesburg, 1989, p. XLI).

Within the present work, the composition consists of three jugglers, one of whom sits atop a large horse, whose pyramidal form dominates the canvas, and two flanking figures. The rider sits at a right-angle to the back and outstretched neck of the horse, his arms expansively out-flung. Whilst the jugglers and horse are shown at a moment of rest, the bold colours serve to suggest imminent movement. Such a compositional façade evokes the subject of the circus: Marini was fascinated with the theme of theatre, finding inspiration for representing the ideal over reality. The present work was probably acquired directly from the artist by the first owner, a collector who supported and encouraged Marino Marini's work, among other 20th century artists, such a relationship tied a life-long friendship between the two men.