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Expressionisms

Marino Marini: Visual Passions. Encounters with Masterworks of Sculpture from the Etruscans to Henry Moore, 2017
By Francesco Guzzetti
Exhibition catalogue (Pistoia, Palazzo Fabroni, 16 Sept. 2017 - 7 Jan. 2018; Venice, Collezione Peggy Guggenheim, 27 Jan. - 1 May 2018). Cinisello Balsamo, Silvana Editoriale, 2017...Read more
This catalogue examines the sculpture of Marino Marini (1901-1980) with the methods of art historical enquiry for the first time. The myths that have gathered around Marini (the artist-potter, the reborn Etruscan, the Tuscan primitive, modern despite himself) have distorted our reading of his work and segregated him from history. Marini is here returned to the context of twentieth-century European sculpture, against which he continually measured himself. His work is also viewed in the light of the ancient sculpture which was for him a constant object of meditation and source of inspiration. Three essays evaluate major historiographic questions that surround Marini: his place in Italy’s art system in the 1930s and 1940s; the art critical writing that shaped the Marini myth in his lifetime; his archaeological sources. The second part of the catalogue, in eight chapters, looks at specific aspects and periods, from the early work to the 1960s, tracing the development of style and content in Marini’s sculpture. The catalogue closes with the first exhaustive compilation of Marini’s own statements and interviews on the poetics of his work, from 1935 to 1973. www.silvanaeditoriale.it MARINO MARINI VISUAL PASSIONS ENCOUNTERS WITH MASTERWORKS OF SCULPTURE FROM THE ETRUSCANS TO HENRY MOORE MARINO MARINI VISUAL PASSIONS ENCOUNTERS WITH MASTERWORKS OF SCULPTURE FROM THE ETRUSCANS TO HENRY MOORE MARINO MARINI VISUAL PASSIONS ENCOUNTERS WITH MASTERWORKS OF SCULPTURE FROM THE ETRUSCANS TO HENRY MOORE € 34,00 9 788836 637850
MARINO MARINI VISUAL PASSIONS ENCOUNTERS WITH MASTERWORKS OF SCULPTURE FROM THE ETRUSCANS TO HENRY MOORE
MARINO MARINI VISUAL PASSIONS MARINO MARINI VISUAL PASSIONS ENCOUNTERS WITH MASTERWORKS OF SCULPTURE FROM THE ETRUSCANS TO HENRY MOORE This catalogue examines the sculpture of Marino Marini (1901-1980) with the methods of art historical enquiry for the first time. The myths that have gathered around Marini (the artist-potter, the reborn Etruscan, the Tuscan primitive, modern despite himself) have distorted our reading of his work and segregated him from history. Marini is here returned to the context of twentieth-century European sculpture, against which he continually measured himself. His work is also viewed of meditation and source of inspiration. Three essays evaluate major historiographic questions that surround Marini: his place in Italy’s art system in the 1930s and 1940s; the art critical writing that shaped the Marini myth in his lifetime; his archaeological sources. The second part of the catalogue, in eight chapters, looks at specific aspects and periods, from the early work to the 1960s, tracing the development of style and content in Marini’s sculpture. The catalogue closes with the first exhaustive compilation of Marini’s own statements and interviews on the poetics of his work, from 1935 to 1973. € 34,00 www.silvanaeditoriale.it 9 788836 637850 ENCOUNTERS WITH MASTERWORKS OF SCULPTURE FROM THE ETRUSCANS TO HENRY MOORE in the light of the ancient sculpture which was for him a constant object MARINO MARINI VISUAL PASSIONS ENCOUNTERS WITH MASTERWORKS OF SCULPTURE FROM THE ETRUSCANS TO HENRY MOORE MARINO MARINI VISUAL PASSIONS ENCOUNTERS WITH MASTERWORKS OF SCULPTURE FROM THE ETRUSCANS TO HENRY MOORE MARINO MARINI VISUAL PASSIONS ENCOUNTERS WITH MASTERWORKS OF SCULPTURE FROM THE ETRUSCANS TO HENRY MOORE Pistoia, Palazzo Fabroni, 16 September 2017 – 7 January 2018 Venice, Peggy Guggenheim Collection, 27 January – 1 May 2018 Exhibition curated by Barbara Cinelli and Flavio Fergonzi with the collaboration of Chiara Fabi under the patronage of with the support of Catalogue edited by Barbara Cinelli, Flavio Fergonzi and Philip Rylands Press Offices Studio ESSECI Padova Cinzia Dugo Texts by Barbara Cinelli, Chiara Fabi, Vincenzo Farinella, Flavio Fergonzi, Francesco Guzzetti, Gianmarco Russo Social Network and Website I social di Anna di Anna Paci Pruvit di Alessandro Giorgi Translations Susan Glasspool, Mariacristina Intrieri Exhibition Website www.marinomarinipassionivisive.it Scientific Committee Barbara Cinelli, Flavio Fergonzi, Philip Rylands, Salvatore Settis, Carlo Sisi, Maria Teresa Tosi Setting-Up Opera Laboratori Fiorentini Spa General Coordination Maria Teresa Tosi, Director, Fondazione Marino Marini At the Peggy Guggenheim Collection the exhibition has been made possible thanks to Transport Apice SCrl Security Sicuritalia Coordination and Organizational Secretariat Ambra Tuci, Francesco Burchielli, Rebecca Polidori, Chiara Nannini Insurance XL Catlin, broker Riccardo Tomezzoli Tantini Registrar Rebecca Romere Thanks for their contribution to: Restauro Dipinti Studio 4 srl, Florence Dolfi e Lepori srl Targetti Sankey spa Tecnoconference tcgroup, DCG Company srl ACONERRE snc M. Ludovica Nicolai Restauratrice Christine Devos, Diana Da Silva the staff of Coop Itinera-progetti e ricerche, Livorno Alice Cooperativa Sociale Onlus, Prato Reception, Educational Activities and Events Dipartimento Educativo della Fondazione Marino Marini, Pistoia; Artemisia Associazione Culturale, Pistoia; Cooperativa Itinera, Livorno; Alice Cooperativa Sociale Onlus, Prato The Fondazione Marino Marini and the Solomon R. Guggenheim Foundation sincerely thank the lenders to this exhibition, public and private, and the directors and staff of public institutions, all of whom have helped to make this exhibition possible: in particular Giuseppe Marra, Andrea Orciuolo and Fabrizio Giandotti of the Camera dei Deputati, Rome; Cristiana Collu, Stefano Marson, Lucia Lamanna and Maria Profiri of the Galleria Nazionale d’Arte Moderna e Contemporanea, Rome; Claudio Parisi Presicce, Sonia Mangia, Angela Carbonaro and Daniela Tabò of the Musei Capitolini, Palazzo dei Conservatori, Rome; Valentino Nizzo, Maria Paola Guidobaldi, Massimiliano Piemonte and Alessia Argento of the Museo Nazionale Etrusco di Villa Giulia, Rome; Anna Maria Montaldo, Ignazio Amuro, Danka Giacon and Maria Grazia Conti of the Museo del Novecento, Milan; Patrizia Asproni and Gabriella Sorelli of the Museo Marino Marini, Florence; Paola D’Agostino, Ilaria Ciseri, Andrea Staderini and Susi Piovanelli of the Museo Nazionale del Bargello, Florence; Mario Iozzo, Giuseppina Carlotta Cianferoni and Maria Cristina Guidotti of the Museo Archeologico Nazionale, Florence; Silvia Penna, Antonella Nesi, Cristina Poggi and Claudia Bardelloni of the Collezioni del Novecento dei Musei Civici Fiorentini, Florence; Gian Franco Indrizzi and Silvia Verdoliva of the Opera della Metropolitana, Siena; Elena Testaferrata, Elisabetta Bucciantini and Lisa Di Zanni of the Musei Civici, Pistoia; Giuliano Gori and Miranda MacPhail of the Collezione Gori, Pistoia; Carlotta Montebello and Laura Berra of the Fondazione Arnaldo Pomodoro of Milan; Gianfranco Maraniello, Clarenza Catullo, Attilio Begher and Serena Aldi of MART, Rovereto; Karole P.B. Vail and Sandra Divari of the Peggy Guggenheim Collection, Venice; Francesca Spatafora, Alessandra Merra and Giovanna Scardina of the Museo Archeologico Antonino Salinas, Palermo; Catherine Chevillot, Audrey d’Hendecourt, Typhaine Ameil, Diane Tytgat, Pauline Hisbacq and Jérôme Manoukian of the Musée Rodin, Paris; Bernard Blistène, Serge Lasvignes, Justine Tonelli, Rania Moussa Morin, Lucille Royan of the Centre Pompidou - Musée national d’art moderne Centre de création industrielle, Paris; Olivier Lorquin and Nathalie Houzé of the Fondation Dina Vierny-Musée Maillol, Paris; Anne Dary and Anne-Laure Le Guen of the Musée des Beaux-Arts, Rennes; Beat Wismer and Inge Maruyama of the Museum Kunstpalast, Düsseldorf; Josef Helfenstein, Eva Reifert, Svenja Held, Werner Müller, Sophie Eichner, Charlotte Gutzwiller and Jonas Hänggi of the Kunstmuseum, Basel; Bernhard Maaz, Corinna Thierolf, Florian Schwemer, Ilona Koroma, Simone Kober, Cornelia Braun, Wolfgang Wastian of the Bayerischen Staatsgemäldesammlungen - Pinakothek der Moderne, Munich; Marco Valerio Masi and Gea Alessandra Masi, Saint-Vincent; the Galleria d’Arte Contini, Venice; the Galleria Matteo Lampertico, Milan; the Galleria Torbandena, Trieste; David Nahmad, Monte Carlo, Principality of Monaco; Luigi Filippo Toninelli, Milan; and other private collectors who have preferred anonymity. The Fondazione Marino Marini and the Solomon R. Guggenheim Foundation are also grateful to the Superintendencies who have authorized loans on behalf of the Italian Ministero dei Beni e delle Attività Culturali. A special thanks to the Regione Toscana for its support and assistance. The curators Barbara Cinelli and Flavio Fergonzi gratefully thank the director and staff of the Archivio Storico della Biennale, Venice; the director and staff of the Archivi della Quadriennale, Rome; Valeria Poletto of the Gallerie dell’Accademia, Venice; Ester Fasino of the Kunsthistorisches Institut, Florence; Antonio Quattrone. Barbara Cinelli and Flavio Fergonzi express their particular gratitude to Philip Rylands, who enthusiastically supported this enterprise from the outset and who oversaw the translation of the catalogue into English. FONDAZIONE MARINO MARINI Commissione scientifica Maria Teresa Tosi direttore Flavio Fergonzi Consiglio Commissione Mostre Paolo Pedrazzini presidente Maria Teresa Tosi presidente Sauro Massa sostituto del presidente Luigi Russo Papotto Carlo Carnacini Maria Cristina Masdea Maria Teresa Tosi Alfredo Coen Ambra Tuci Francesco Burchielli Sindaci revisori Ambra Tuci responsabile Dipartimento Educativo ed Eventi Vittorio Nardini Luca Iozzelli Stefano Paci Stefano Sala commercialista Honorary Trustees in Perpetuity Solomon R. Guggenheim Justin K. Thannhauser Peggy Guggenheim Hilla Rebay Honorary Chairman Peter Lawson-Johnston Chairman William L. Mack President Wendy Fisher Philip Rylands Alessandro Tomasi THE SOLOMON R. GUGGENHEIM FOUNDATION Francesco Burchielli responsabile Archivi e Collezione Vice-Presidents John Calicchio Wendy L.-J. McNeil Edward H. Meyer Denise Saul Director Richard Armstrong Treasurer Robert C. Baker Secretary Edward F. Rover Assistant Secretary Sarah G. Austrian Director Emeritus Thomas Krens Trustees Jon Imanol Azua Robert C. Baker John Calicchio Valentino D. Carlotti Cindy Chua-Tay Mary Sharp Cronson Dimitris Daskalopoulos Charles M. Diker Carl Gustaf Ehrnrooth Wendy Fisher Elliot S. Jaffe Rashid Johnson Francesca Lavazza Peter Lawson-Johnston Peter Lawson-Johnston II William L. Mack Linda Macklowe Wendy L-J. McNeil Edward H. Meyer Vladimir O. Potanin Stephen Robert Mortimer D. A. Sackler Denise Saul Michael P. Schulhof James B. Sherwood David Shuman Barbara Slifka Sidney Toledano Mark R. Walter John Wilmerding Honorary Trustee Elizabeth Richebourg Rea Trustees Emeriti Robert M. Gardiner Barbara Jonas Jennifer Blei Stockman Stephen C. Swid John S. Wadsworth, Jr. Trustees Ex Officio Tiqui Atencio Demirdjian Chair, International Director’s Council Alberto Vitale Chair, Executive Committee, Peggy Guggenheim Collection Advisory Board Director Karole P. B. Vail Museum Shop Silvana Ndreca Elena Reggiani Marta Vimercati Francesca Zanchet Director Emeritus Philip Rylands Press and Social Media Maria Rita Cerilli Communications and External Affairs Alexia Boro Publishing, Special Projects Chiara Barbieri Simone Bottazzin Conservation Luciano Pensabene Buemi Exhibitions and Collection Management Sandra Divari Marco Rosin PEGGY GUGGENHEIM COLLECTION Corporate Development and Board Relations Chiara Arceci Fanny Liotto Curatorial Luca Massimo Barbero Gražina Subelytė Director’s Office Sara Pedrini Education, Grants, Special Programs Elena Minarelli Michela Perrotta Federica Gastaldello Events Chiara Zanandrea Finance Laura Micolucci Silvia Dinon Maria Vittoria Scebba Gabriella Tonegato Nicoletta Xaiz Individual Development and Membership Martina Pizzul Chiggiato Caterina Briolini Library and Archives Silvio Veronese Retail Operations Roque Luna Roberta Chiarotto Mattia Talli Security Oliviero Scaramuzza Roberto Bon Paolo Ganz Daniele Marangon Luca Martinelli Valerio Naidi Technical Services and Art Handling Siro De Boni Technical Services and IT Roger Zuccolo Visitor Services Patrizia Martignon Matteo Sfriso Valentina Furlan Valentina Goatin PEGGY GUGGENHEIM COLLECTION ADVISORY BOARD President S.A.R. La Princesse Guillaume de Luxembourg Presidents Emeritus The Earl Castle Stewart Peter Lawson-Johnston Vice-President Mimi L-J. Howe Honorary Members Olga Adamishina The Countess Castle Stewart Michael P. Schulhof Maria Angeles Aristrain, Condesa de Biñasco Christina Baker Alberto Baldan Ronald D. Balser Adriana Batan Rocca Renée Belfer Anita Belgiorno-Nettis Marchese Annibale Berlingieri Giuliano Bianchi Maria Camilla Bianchini d’Alberigo Davide Blei Lord Browne of Madingley Gaurav Burman Ludmila Cafritz Alick Campbell of Lochnell Marco Carbonari Giovanni Cotroneo Pilar Crespi Robert Isabella Del Frate Rayburn Stefano Del Vecchio Pietro Luigi Draghi Ulla Dreyfus-Best Gayle Boxer Duncanson Robert T. Edwards John L. Fiorilla di Santa Croce Giovanna Forlanelli Rovati Mary E. Frank David Gallagher Anna Goldenberg Marino Golinelli Ginny Green Joana Grevers Alfredo Gysi Hans-Christian Habermann Gilbert W. Harrison Lisa A. Hook John F. Hotchkis Carola Jain Leon Koffler Linda Lindenbaum Gaetano Maccaferri Lord Marland of Odstock Luca Marzotto Valeria Monti Peter W. Mullin Guido Orsi Rose Marie Parravicini Anthony T. Podesta Benjamin B. Rauch Elizabeth Richebourg Rea Joanna Riddell Paola Segramora Rivolta Inge Rodenstock Beatrice Rossi-Landi The Revd. Alfred R. Shands III James B. Sherwood Massimo Sterpi Carlo Traglio Eleonora Triguboff Melissa Ulfane Francesco di Valmarana Alberto Vitale Ruth Westen Pavese Peggy Yeoh Lee Emeritus Members Mary Bloch Fiorella Chiari Patricia Gerber Kristen Venable PEGGY GUGGENHEIM COLLECTION FAMILY COMMITTEE David Hélion † Fabrice Hélion † Nicolas Hélion Sandro Rumney Laurence Tacou Clovis Vail Julia Vail and Bruce Mouland Karole P. B. Vail, Andrew Huston Mark Vail The headquarters of the Fondazione Marino Marini have been in Palazzo del Tau in the city of Pistoia, Italy, the birthplace of the artist, since the early 1990s. Marini’s wife, Mercedes Pedrazzini, whom he, and all of us, called with fondness Marina, worked indefatigably to ensure that the headquarters of the Foundation, named after Marini, would be situated precisely there. Marina knew how deeply attached her husband was to Pistoia, to which he had donated several important sculptures and a large collection of works on paper. She also knew that Marini had wished to leave to the Foundation all the documentation that would tell the story of his life and work: letters, books, photographs, prints and everything that could be useful for describing the man and the artist. That is why Marina, who was President of the Foundation until her death in 2008, worked for years to establish good relations with the city and the City Council, which, to everyone’s good fortune, recognized the importance of the artist’s arrival in, or rather return to, his native Pistoia, and generously offered the Foundation the use of a prestigious building: the former Convento del Tau. The Foundation has grown considerably since it found its stable ‘home’ here in Pistoia and it is now accepted as the only point of reference for authenticating Marini’s work at an international level. It has installed the museum with rich and various works by Marini, covering his whole career and the variety of his mediums. Palazzo del Tau also incorporates an all-purpose space for events and temporary exhibitions and has gradually become a focal point for art education in Pistoia and Tuscany. Every year hundreds of Marini’s works, some normally on display in the rooms of the museum, others from the Foundation’s storerooms, depart from here to take part in large and important exhibitions throughout the world. Marina would be proud of what she started so many years ago and I like to think that she would also find pleasure in this exhibition: she always liked to do things on a large scale and would certainly have been delighted to see all the ancient and modern masterpieces gathered here bringing to life the exhibition rooms of Palazzo Fabroni and of the Peggy Guggenheim Collection, each one revealing its connection to Marini’s work. Marino Marini. Visual Passions is the first retrospective exhibition that sets out to locate Marini in the history of sculpture, offering a fresh contribution towards a stylistic and historical understanding of Marini’s way of making art. The exhibition was born from an idea that originated within the Foundation itself, as it had felt the need to reconsider all stages of Marini’s career, from the 1920s, when he began to study art, up to the 1960s, the years of his full artistic maturity. Marini was a complex artist, possessing a twin soul that was both archaic and modern. He was always deeply attached to the Mediterranean roots that conditioned his aesthetic vision, the profound content of his work, and his plastic vision. His gaze was, however, never averted from the present and the future. He declared: “I am very glad to live in this world, indeed, the world is part of me, I could not survive if I was isolated, I need to feel mankind close to me, to understand what it thinks and to feel its way of life. This brings richness to my art, I must nourish myself with this, and when I am well nourished I can work.” These multiple facets have been carefully studied and fully explored in this exhibition which, for the first time, presents some works that were the object of Marini’s study, from the visual panorama that he admired and loved, in the eloquent company of his own sculptures. Yet these affinities and inflections, which undoubtedly contributed towards forming Marini as a man and as an artist, should not cause us to forget how unique an artist he was. Marini survived, in a century no less complex than the previous one, by carrying within him the seeds of the invaluable lessons he learned from the old masters, which he then sublimated in works of sculpture that are the authentic offspring of a “tragic and expressionist” present. Marini left a truly original vision to posterity, both with his great symbolic themes – the Pomonas, the horses, the riders and the jugglers – and with the incisive vision of his portraits, whose pensive, or ironic, or any other expression deliver to us a powerful trajectory of personalities who have contributed to the shaping of our recent history. Maria Teresa Tosi Director, Fondazione Marino Marini Sir Herbert Read, who had been Peggy Guggenheim’s mentor when in 1939 she first conceived the idea of a museum of modern art, wrote an introduction to Gualtieri di San Lazzaro’s catalogue of the complete works of Marino Marini (1970). The declared intention of his essay was “to define the distinctive qualities of Marino Marini’s sculpture, comparing and contrasting his work with that of his predecessors and with the work of certain of his contemporaries.” This exhibition has much the same intention – that of exploring Marini’s influences and sources. No previous exhibition has ever set out to do this. We would first thank the curators, Barbara Cinelli and Flavio Fergonzi, who with the assistance of Chiara Fabi have planned the exhibition and brought to it all the qualities of their connoisseurship and scholarship. It is a privilege for the Solomon R. Guggenheim Foundation to have worked with the Fondazione Marino Marini of Pistoia on this enterprise, with two venues for the exhibition: first in Palazzo Fabroni, Pistoia, and secondly in the Peggy Guggenheim Collection, Venice. We would like to express our esteem for Paolo Pedrazzini, president of the Fondazione Marino Marini, to Maria Teresa Tosi, its director, to the members of the Fondazione’s Board, and to its staff. It is always a pleasure on such occasions as this to recognize and thank those who with their generosity make possible the exhibitions of the Peggy Guggenheim Collection: the museum’s Institutional Patrons, EFG, Lavazza and Regione del Veneto; the Guggenheim Intrapresæ, stalwart corporate supporters whose loyalty to the Peggy Guggenheim Collection enables us to develop long-term exhibition programs; and the Peggy Guggenheim Collection Advisory Board. The Fondazione Araldi Guinetti nobly supports various programs auxiliary to the exhibition in Venice. We would also thank the private collectors and public institutions who have generously lent sculpture by Marino Marini, by sculptors of the past, and by Marini’s great contemporaries. The full list of lenders is published elsewhere in this catalogue, but we would like to acknowledge the numerous contributions made by the Marini museums in Pistoia and Florence, and by the Marini Collection at the Museo del Novecento in Milan, which represent a gratifying recognition of the importance of Marini and of the scholarly value of this effort. Richard Armstrong, Director, Solomon R. Guggenheim Foundation and Museum Philip Rylands, Director Emeritus, Peggy Guggenheim Collection Karole P. B. Vail, Director, Peggy Guggenheim Collection This exhibition arose from the simple realization that the time had come to examine the work of Marino Marini using the methodology of art history. This may seem obvious; nevertheless there has been nothing like it for decades. The myths that have gathered around the figure of Marini (the artist-potter, the reborn Etruscan, the Tuscan primitive modern despite himself) have tended to flatten his biography, and above all his work. There has long been a tendency to consider him an artist outside history, in this way dissociating him from the context of European sculpture in the 20th century, against which he himself constantly measured his work; nor, which is worse, has the importance to him of ancient sculpture, a source of constant inspiration, been adequately assessed. The myths that have clung to Marini go back to 1950, to his solo show at the Curt Valentin Gallery in New York and the success (critical, commercial and media) that it brought to him. With the complicity of interviews and photo shoots, the image of him as ‘ambassador’ to America of Italian style (Mediterranean archaism and Tuscan rigor translated into an elegant modern format) rapidly generated the legend. This in turn contributed to an outstanding success in terms of exhibitions and international sales (United States, Northern Europe, even Japan). When therefore, following the great exhibition at Palazzo Venezia in Rome in 1966, Marini’s work began to be viewed retrospectively, the critical readings of his work adopted this legend. They fixed upon the continuity of certain themes: the Riders, the Pomonas and the circus. Or they fielded pseudo-critical categories: the myth, pure form, the primacy of drawing. The many interviews given by Marini in the 1960s and 1970s (anthologized here for the first time) enable us to judge the extent to which he was consensual and/or a promoter of his own myth: a myth that not only conditioned the militant critics but hindered a correct historiography. Critics, in fact, conformed to the interpretative apparatus that Marini himself authorized. In this way, on closer scrutiny, the writings published in the catalogues of monographic exhibitions are of interest from the point of view of a social history of art (how the myth of the last sculptor qua sculptor was constructed; how his public image was established with a few modish stereotypes). They betray, however, an impressive vacuity in terms of the formal analysis of his work, whether sculpture or painting. The exhibition Marino Marini. Visual Passions reacts to this now sedimented critical approach. It aims first and foremost to go back to the work itself, and, as suggested by the exhibition’s title, to retrieve the specificity of Marini’s visual language. It does so by juxtaposing Marini’s work with sculpture by others, from ancient civilizations to his contemporaries. This operation, never previously attempted, enables us concretely to evaluate the generic historical-artistic treatment of Marini to date, so often neglectful of the biographical facts or even of the works themselves. For example: the Etruscan stereotype, which has weighed heavily on writing about Marini, is re-examined and clarified here in the light of other archaeological influences ranging from Greek to Oriental art; the dialogue with important sculptures by Arturo Martini and Giacomo Manzù illustrates Marini’s contribution to figurative culture in Italy in the 1930s, especially in terms of the genre of the male nude; Aristide Maillol’s and Ernesto De Fiori’s female nudes are seen as essential points of reference for the Pomona series; Marini’s interest in Donatello and Auguste Rodin, concentrated in the more expressionist phase of the 1940s, is re-positioned within a precise network of retrospective considerations involving the two artists in the same period, and their works are included in the exhibition with Marini’s in combinations that are for the first time instructive; the reference to Picasso, which indiscriminately dominated the interpretation of Marini’s work in the 1950s, is re-considered, in a triangulation with Henry Moore, as a way to understand his interest in great medieval Italian sculpture, Giovanni Pisano in particular. The project of inserting Marini into the history of sculpture has also moved the center of gravity of his catalogue. In place of the customary perception of the Miracles and Warriors of the 1950s as the culmination and peak of his career, we have preferred to dwell at length on the two previous decades, the 1930s and 1940s, the period which was of special importance for Marini’s positioning vis-à-vis the major issues that confronted European sculptors. This exhibition is neither retrospective nor hagiographic. Together with its catalogue it sets out to provoke a historically viable reflection on that which linked Marini to the events of 20thcentury modernism, from the 1920s to the 1960s, a reflection that, we trust, will serve to retrieve for Marini an international dimension to his career. Barbara Cinelli Flavio Fergonzi 6. Expressionisms FRANCESCO GUZZETTI 6. I 6. X Marino Marini Juggler, 1940 bronze, 26 x 21 x 25.5 cm Pistoia, Fondazione Marino Marini Marino Marini Portrait of Germaine Richier, 1945 bronze, 58 x 43 x 30.5 cm Pistoia, Fondazione Marino Marini 6. II 6. XI Auguste Rodin Juggler, circa 1892–1895 bronze, 30 x 12.5 x 14.5 cm Paris, Musée Rodin Marino Marini Archangel, 1943 plaster, 24.5 x 17.8 x 25.1 cm Florence, Museo Marino Marini (for exhibition in Pistoia only) 6. III Marino Marini Juggler, 1940 bronze, 66 x 41 x 75 cm Florence, Museo Marino Marini 6. IV Auguste Rodin Torso of a Seated Woman (Torse Morhardt), circa 1895 bronze, 13.8 x 9.3 x 8.6 cm Paris, Musée Rodin 6. XII Marino Marini Portrait of Karl von Schumacher, 1944 polychrome plaster, 26.5 x 16.5 x 23.7 cm Pistoia, Fondazione Marino Marini (for exhibition in Pistoia only) 6. XIII Marino Marini Susanna, 1943 bronze, 74 x 27.5 x 45 cm Private collection 6. V Marino Marini Small Nude, 1943 bronze, 31.2 x 24 x 17.9 cm Pistoia, Fondazione Marino Marini 6. XIV Marino Marini Juggler, 1944 polychrome bronze, 88.4 x 37.8 x 67.2 cm Florence, Museo Marino Marini 6. VI Auguste Rodin The Tragic Muse (small model), 1893–1894 bronze, 31 x 52 x 54.5 cm Paris, Musée Rodin 6. XV 6. VII 6. XVI Marino Marini Archangel, 1943 polychrome plaster, 72 x 40 x 37.5 cm Milan, Museo del Novecento, Marino Marini Collection (for exhibition in Pistoia only) Germaine Richier Pomona, 1945 bronze, 78 x 26 x 24 cm Rennes, Musée des Beaux-Arts 6. VIII Marino Marini Archangel, 1943 Polychrome plaster, 131.5 x 60 x 40 cm Florence, Museo Marino Marini (for exhibition in Pistoia only) 6. IX. Desiderio da Settignano (historically attributed to Donatello) Bust of Niccolò da Uzzano, circa 1430 polychrome terracotta, 55 x 44 x 23 cm Florence, Museo del Bargello (for exhibition in Pistoia only) 152 Marino Marini Nude, 1947 bronze, 79.6 x 26.9 x 18.2 cm Pistoia, Fondazione Marino Marini This section of the exhibition looks at Marino Marini’s work during the main part of the 1940s, and focuses above all on the early years of the decade, when his figures embodied an unprecedented expressive intensity, in accordance with the climate of a troubled avant-garde which united many artists against official Fascist art and culture during the Second World War. The facts of Marini’s life in those years – after becoming a teacher at the Accademia Albertina in Turin in 1940, he saw the bombing of his own studio in Monza and of his apartment in Milan, and was forced to leave with his wife, first for upper Lombardy and then to Tenero, near Locarno – inevitably steered the “expressionist” tack of his sculptures into a channel of discussion that was only dawning. The use of the term “expressionism” is not casual, indicating one of the most conspicuous debates in art in the period leading up to 1945, under the terms of which Marini put his own subject matter to the test. Although at first applicable to painting, the concept of “expressionism” in sculpture meant the potential of attaining the same degree of expressive autonomy as a picture or work on paper, in a new combat between the arts on the field of the paragone which was to become widespread between the late 1940s and the early 1950s.1 About a decade later Giuseppe Marchiori looked back at this phase of Marini’s career, and observed the change it had undergone: referring to the works of 1943, he wrote: “Marini participates in the tragedy of the world with unexpected emotional force and his protest has a tone so resolute that it is reflected in the austere firmness of the images, transformed from within, constructed on ascending lines, according to a moral measure to the highest point of the artist’s human commitment. The ‘expressionist lack of proportion’ is the new element grafted onto the trunk of archaic purism; it is the Nordic ‘canon’ of the Susanna (1943), much like a Cranach nude. The painterly artifices, to animate and bring to life the surface, should be understood in the unity of ‘expressionist’ vision: they mark the points where the light must strike strongest to accentuate the contrast with the stronger shadows of the planes which turn in on themselves and which Marini considered it useless to simulate with voids.”2 The comparison of Susanna (6.XIII)3 to the painting of Cranach brings us to the Northern sources that were certainly important to Marini, but that need to be framed nevertheless by the broader expressionist tendency of his work, visible in the painterly treatment, rich in luminous effects, of the surface. “Corroded surfaces” – to quote a phrase from a key text on this period4 – brought together the work of many artists in those years, among them Germaine Richier and Fritz Wotruba, both of whom Marini came to know and frequent in his time in Swtizerland. Marchiori’s words, through the microcosm of the treatment of surface, introduced a deeper issue of sculptural expressionism that leads us back to the debate mentioned above. “Lofty school of sculpture, deep attachment to life”: with these words Marini appeared for the first time in Vita Giovanile – later Corrente di Vita Giovanile – one of the critical periodicals of the avant-garde of the late 1930s. The quote is from the review of the 21st Venice Biennale in 1938 by Raffaele De Grada.5 His short definition, which referred to the artist’s portraits of Fausto Melotti and Lamberto Vitali on display in Venice,6 was somehow glossed by Duilio Morosini, who wrote about Marini a few months later, observing in his more recent production signs of moving beyond sculpture that was architectonic in composition, still savoring of the Novecento, in favor of a “moral rigor” aiming for the “conquest of a stylistic order, tending to an intense characterization by means of a progressive simplification (for an absolute meaning) of objects of his own emotion brought close and understood emotionally.”7 Within a general debate on the new trends in art based on painting, the concerns in sculpture featured a general predilection for the young Giacomo Manzù, on the one hand, and on the other the endeavor to re-evaluate the work of the older Arturo Martini (given the interest of young sculptors). Within this dichotomy, Marini emerged tentatively, but with increasing clarity.8 Marini in fact quickly earned the approval of Renato Guttuso, a key figure in the practice and theory of political and social commitment in the new generation of artists. He naturally considered that painting led the way for sculpture,9 but from 1938, when he expressed great admiration for a portrait in terracotta by Marini in a group exhibition of Italian artists in Palermo,10 Guttuso never failed to mention Marini’s more powerful works, such as the Young Girl at the 1940 Venice Biennale, or the Small Horse in the Cardazzo collection exhibited in the Galleria di Roma in 1941, at which time he ranked him among “the most solid values,” alongside Giacomo Manzù, Carlo Carrà, Mario Mafai, Giorgio Morandi and Scipione.11 Subsequently, during the changed context of the post-war, and perhaps adjusting to a climate of general disfavor towards Manzù in Rome, Guttuso came to consider Marini, and few others, among the vital forces of Italian sculpture, at Manzù’s expense, and to proclaim that at the 1948 Biennale, where six of Marini’s major works from the preceding decade were on view in a solo room,12 “Marino Marini, and I am sorry that the commission awarding the prizes did not realize this, is the best sculptor, not just Italian.”13 The profoundest gauge of expressionism in sculpture was therefore its capacity to propose a universal language of true and intense humanity. This was by no means easy, given the acknowledged primacy of painting, even in the historical recapitulation of the expressionist avant-garde – see Mario De Micheli’s introduction to the 1945 translation of the essay by Hermann Bahr14 – and given also the stigmatization of the limitations of sculpture, hampered in terms of an inevitable subordination to the subject and the many material conditions recounted by Arturo Martini in his Scultura lingua morta. An editorial note in Il Politecnico, introducing an excerpt from the book with a short comment by Guttuso on the possible renewal of sculpture in the wake of painting, advocated for sculpture the “necessity for a new shift towards a comprehensive language of the life of all.”15 “The statue is too human to attain anonymity”16: to the limit expressed in the words of Martini referring to the most recent debates on anonymity as a condition of universality, Marini’s art seemed to react in those years with an expressive intensification of his surfaces and of his compositions, a process discretely begun earlier, by attenuating proportions and stretching and compressing poses in the figures, and by heightening the psychological tension of the portraits. Even critics and commentators began to notice a change of pace. The Horse, exhibited at the III Mostra Sindacale Fascista delle Belle Arti in Milan in 1941, was the most discussed piece, because of the disorienting overlay of “a vibration of life, 6.1. Marino Marini Romantic Portrait, 1943. Milan, Museo del Novecento (from R. Giolli, in Domus, February 1943) 153 which lends a strange and attractive flavor” on the familiar archaic source.17 Then, in 1942, a short text by Giulio Carlo Argan demonstrated the difficulties of locating Marini in the antithesis of the “impressionistic plastic” and the abstraction of the “volumetric plastic” in the light of work which appeared to have transcended every possible category, “assigning to form an unlimited human substance.”18 When, around 1943, Marini made his most accomplished works in this new expressive vein – such as the male Archangel (6.VII, 6.VIII), the female Archangel (6.XI) and Miracle – comments wavered between surprise and lively appreciation. In the same year Raffaello Giolli ended his account of Marini, predicated on the coherent constructive solidity of his work, with a pregnant query, illustrated by the Romantic Portrait (6.1)19: “Marino was born in 1901: he is now 42 years old. Although we have indicated a continuity of constructive [form], we do not believe that even the proud, silent power of Pomona can be its outcome. The People and the Rider have still, within them, other purposes to absolve: and perhaps too the other head we reproduce here, hermetic not simply because we do not know its title.”20 That riddle of the hermetic was apparently solved soon after in Stile, where an anonymous editorial (attributable to Gio Ponti) accompanied by images of three sculptures, apparently destined for the 4th Quadriennale in Rome but not after all displayed,21 dissipated any reservations about the new works with respect to Marini’s familiar style: “While not denying his aspiration, which is in his nature, in these three very recent works we believe we see instead a more human content; his style yields to something else and this human content is painful and confessed and tortured in two figures, more firmly contained in the third youthful figure. For many, content still means narration, episode, but content can be something more intimate and express itself without gestures. In these works by Marino one can find a content of adherence to our humanity, a content the artist is unaware of, which in the three images seems to configure the dramatic destinies in which people living today take part. 154 francesco guzzetti Is not the expression of these creatures, after all, a narration in itself?”.22 The three figures referred to in Stile were the male and the female Archangel and the Portrait of Madame Melms.23 Both Giolli, in passing, and the unnamed editorial in Stile, were reacting to the novelty that Marini appeared to be grafting on the solidly constructive plastic roots of his style, which he himself had already asserted,24 a component of expression understood as the profound content of humanity and life, of which the earliest manifestation was the dual exhibition with Mario Mafai at the Galleria di Genova in 1941, unanimously acclaimed by the critics.25 To achieve this new expressionist sensibility, some visual sources came to the aid of Marini, in addition to the now familiar Middle Ages, enriched by fresh chronological or geographical notions, especially during his stay in Switzerland, ranging from his study of the Romanesque and Tuscan Gothic to the revelation of the harshness of aspects of North European Gothic, which he had known since being struck by the Bamberg Rider during his 1934 trip to Germany. The influence of North European art soon became the hallmark of this season, perhaps also reminiscing the centrality of “certain intense medieval productions” in the primitivism that the historic expressionists of the early 20th century had looked at.26 In his second monograph on Marini (1946), Vitali, coming to terms with his most recent work (something he had not fully done when in 1944 he was still writing of the pure forms and the architectonic vocation of his sculpture27), described the most recent period as follows: “The crisis of that time Marini calls his Gothic crisis; and it was, above all, the necessary outcome of the encounter with another art, which he found himself living for the first time from within rather than from without: an art born in a different atmosphere, from a different tradition, with a very different sense – more harsh and dramatic – of beauty. If certain small nudes seem to be almost overtaken by an expressionist taste, the most obvious witnesses of his break from the previous period can be found in the three busts of 1943: the male Archangel, the female Archangel, the Mira- cle.” Beyond his loaded use, perhaps for the first time with such consciousness in the criticism on Marini, of the phrase “expressionist taste,” Vitali highlighted, in the three aforementioned works, the “forced verticality [...] that recalls the soaring of Gothic spires,” and concluded that “all this has been [but] a moment in Marini’s production, followed immediately by a return to the old language of forms,”28 yet with persisting traces of the rough surfaces of certain nudes or in the psychological investigation of some post-war portraits (6.XV). In reality, Marini’s attention to Gothic art intersected with other references, not all of them coherent, that he turned to as part of his vivid awareness of the art debates in the early 1940s. “Tumultuous sculptor [plasticatore], who seems always in the act of rupturing form, forcing expression and pushing it to the limit”: this was Anna Maria Brizio’s description of Auguste Rodin in 1939 in Ottocento Novecento, that the art historian authored for the series of art history books published by the UTET. The quote on Rodin was her attempt to reach the heart of the prevailing interpretation of the great master.29 Italian sculptors, especially during the 1930s, looked at Rodin for the same reason that for art writers he was controversial: he often represented a stumbling block in understanding the recent history of sculpture – see the chapter dedicated to him by Brizio – on the one hand, while sculptors seeking intense expressivity, such as Arturo Martini, looked, on the other hand, at his work as a third way between the Scylla of Impressionism and the Charybdis of the volumetric closure of more archaicizing sculpture. The presence of Rodin in Italian art writing of the 1930s had been elusive, but steady, and, after all, his axiom “sculpture is the art of hollows and mounds, not of the play of light and of shadow” was known to and discussed by artists.30 Rodin’s expressive exaggerations, the violence of his treatment of light on the surface, the fractures in the consistency of the forms to the advantage of a continuity of profiles in his sculpture, must have been interesting to Marini, who would not have forgotten his prophetic encounter with the 6. I. Marino Marini, Juggler, 1940 6. II. Auguste Rodin, Juggler, circa 1892–1895 6. expressionisms 155 old French master in Florence in 1915 at the very beginning of his aspiration to be a sculptor,31 and perhaps in the early 1930s had already taken some of Rodin’s practices into account.32 Rodin’s work had appeared in several Italian exhibitions and was represented again at the 1934 Venice Biennale, which hosted a survey of 19th-century French art, organized by Louis Hautecour, the Director of the Musée du Luxembourg, comprising Rodin’s bronze portraits of Jules Dalou and Puvis de Chavannes, surrounded by the work of other artists influenced by him.33 Important works by Rodin were also in the modern art collections in Rome and Venice at that time. When in 1938 the collections of the museums of modern art of the two cities, which were the two most important in Italy, were radically reinstalled, several works were exchanged, and thus Rodin’s bronze portrait of Dalou and the Age of Bronze from the Galleria Nazionale in Rome came to enrich the foreign section of the Galleria Internazionale d’Arte Mo- 6.2. Marino Marini Juggler, plaster version, 1940 (from R. Carrieri, Marino Marini scultore, 1948) 156 francesco guzzetti derna of Ca’ Pesaro in Venice, where they were in the company of large plasters of the Thinker and the Burghers of Calais.34 In any case Marini knew Rodin’s work well enough, thanks to frequent and lengthy visits to Paris, above all between 1928–1929 and 1932–1933, and again around 1937, when he was awarded the Grand Prix at the Universal Exhibition in Paris and his Boxer in wood of 1935 entered the French State collections; and he may also have known the anthology of memoirs published by one of the master’s students, Emile-Antoine Bourdelle, who was well known in Italy.35 In the light of the interest in a certain verismo – Vincenzo Gemito was an important reference for the whole generation of sculptors active in the 1930s36 – the genre in which the first traces of Rodin’s influence on Marini can be most easily found is that of portraiture, which in Italy was held to represent the French artist’s best work. Towards the end of the decade however Marini’s interest in Rodin’s models became more intense, with a progressive 6.3. Auguste Rodin Crouching Woman, 1906–1908 (cast 1909) (from Rodin, 1939) 6.4. Auguste Rodin Cybele (Large Model), 1905 (from Rodin, 1939) appreciation of the expressive possibilities of a certain breach between composition and surface, and the re-elaboration of the continuity of volumes in a more fluid plastic formula typical of Rodin. Marini’s Juggler of 1940 (6.I), for example, a small bronze that signaled his reprise of a subject dear to him after his first sculptures of this subject at the beginning of the previous decade, and which was markedly ‘French,’ testifying to his regular visits to Paris, featured a completely new composition, in which the dynamic position of the legs in space, enhanced by the amputation of the arms and by the treatment of the bronze surface, would seem to echo sculptures such as Iris, Messenger of the Gods in the Musée Rodin.37 The subject itself could have induced Marini to look more closely at Rodin’s Juggler (6.II), an assemblage whose dynamic pose stretching into space was reproduced full-page in 1937 in Carola Giedion-Welcker’s book on modern sculpture, which very probably circulated in Italy.38 The convention of the fragment, a crucial feature of Rodin’s sculpture together with the free movement of forms in space and the complexity of the scansion of light and shade on the surfaces, could be found in another Juggler by Marini of the same year (6.III), most vivid when photographed rolled on its back in a plate in the 1948 monograph by Carrieri (6.2).39 Here Marini seems 6. III. Marino Marini, Juggler, 1940 6. IV. Auguste Rodin, Torso of a Seated Woman (Torse Morhardt), circa 1895 6. expressionisms 157 to graft onto the formula of the crouched figure – which he had already experimented in the 1930s – a compositional closure such that the plastic unity of the whole dominates and articulates the single parts of the body. The expressive force of these Jugglers arguably benefited from the knowledge of works by Rodin such as The Crouching Woman, one of the sculptures of greatest impact from The Gates of Hell, which Rodin re-used in the assemblage of ‘I am beautiful’, in which the female figure, carried by The Falling Man, was rolled up into a pose not unlike that of the Juggler in plaster as photographed in Carrieri’s book. Perhaps Marini remembered seeing the sculpture itself at the Musée Rodin, a memory that would have been triggered by the publication in 1939 of the monograph by Phaidon Press, with an introduction by Sommerville Story, one of a series notable for its lavish, large-scale plates, and which Marini would have known.40 Among the handsome images in this book, taken at the Musée Rodin by the German photographer and artist Ilse Schneider-Lengyel, were two views, front and back, as well as a detail of the face of Crouching Woman, together with other works like the Cybele, or Study of a Seated Woman in plaster, which may also have inspired Marini’s Jugglers (6.3, 6.4).41 The Phaidon monograph offered suggestive and wide-ranging examples of all Rodin’s materials, formats and subjects and perhaps inspired Marini with other ideas (the Small Nude of 1939 may perhaps be related to The Little Fairy of the Waters42 [6.5, 6.6]) but in any case it was a crucial impulse towards a less schematic vision of Rodin than that 6.5. Marino Marini Small Nude, 1939. Pistoia, Fondazione Marino Marini 6.6. Auguste Rodin The Little Fairy of the Waters, 1903 (from Rodin, 1939) 6.7. Auguste Rodin Torso of a Woman, circa 1890 (from A. M. Brizio, Ottocento Novecento, 1944) 158 francesco guzzetti which dominated the 1930s in Italy, when interest alternated between the portraits and the monumental typology of the Thinker and the Burghers of Calais. The rediscovery in the late 1930s and early 1940s of an experimental Rodin, with fragments, assemblages, surmoulages, with small formats in plaster and terracotta that influenced many artists (including Martini in his last period43), led to a critical revision of Rodin himself. It is indicative that for the 1944 re-edition of Ottocento Novecento, Brizio, despite the rather few modifications she made to the section on the 19th century, nevertheless made important changes especially to the chapter on Rodin, eliminating reproductions of the Thinker and the Burghers of Calais and adding three other images (one of them in the twelve plates not included in the text) of far more radical works, taken from the 6.8. Desiderio da Settignano (historically attributed to Donatello) Bust of Niccolò da Uzzano, circa 1430, detail (from Donatello, 1941) 160 francesco guzzetti Phaidon book, which is further proof of the latter’s wide circulation (6.7).44 During the early 1940s, Marini studied Rodin more carefully, encouraged by his stay in Switzerland where the sculptors he befriended had been looking at the French master’s work for some time, especially Germaine Richier and Fritz Wotruba, and by some important exhibitions, not least the group show at the Kunsthalle in Bern in which all three exhibited a selection of work from the previous five years alongside drawings by Charles Despiau, Aristide Maillol and Rodin himself.45 The photograph of Marini’s studio in Tenero taken by Wotruba around 1945 (6.13), Marini’s bust and head of Richier (6.X), and sculptures of Pomona by Richier (6.XVI), well-known to have been inspired by Marini’s nudes, are some documents of the close friendship of these three artists.46 6.9. Bernardo Ciuffagni, Donatello and Nanni di Bartolo Joshua, formerly Poggio Bracciolini, circa 1415–1420, detail (from Donatello, 1941) 6.10. Donatello Beardless Prophet, 1416–1418 (from L. Planiscig, Donatello, 1939) Again, in the key year of 1943, Marini signed the Complete Portrait [Ritratto intero], in which the unifying, wrapped effect and the implication of a void beneath the exterior in plaster were perhaps inspired by the dressing gown worn by Balzac, and began a new series of female nudes no less evocative of works by Rodin.47 These were mainly of small format, often fragmentary and of great vivacity in their poses, inspired perhaps by late studies in movement in plaster or terracotta or by the plaster cast of Rodin’s hand, whose fingers hold a small female torso, headless, armless and missing part of the legs, photographed by Emmanuel Sougez for an album of Rodin’s works that was printed several times beginning in 1933.48 Among this group was a Small Nude, perhaps also reminiscent of small sculptures by Edgar Degas, its linear kneeling pose creating a pattern of lights and shadows, which brings to mind works by Rodin such as the Tragic Small (6.VI), conceived for the monument to Victor Hugo and also cast on a small scale. Marini may have known this from seeing in person the large version in bronze, still possessing its arms, preserved in the museum of Geneva, or more generally from Richier’s 6. VII. Marino Marini, Archangel, 1943 6. VIII. Marino Marini, Archangel, 1943 6. expressionisms 161 6.11. Marino Marini Miracle (Gothic Cathedral), 1943. Milan, Pinacoteca di Brera, Jesi Collection (from G. Contini, Vingt scultpures de Marino Marini, 1944) 162 francesco guzzetti intense study of Rodin’s nudes over some years, exemplified by a work such as The Toad of 1940 (6.12).49 In 1944 Gianfranco Contini published a small volume with a careful selection of work carried out by Marini in Switzerland. In light of the rough and expressively treat- ed surfaces of the recent works, as well as Marini’s interest in polychromy, Contini recognized the traits of a “poète de surfaces,” whose force consisted in the penetration of form and its internal expansion outwards until its moment of impact, its sudden encounter, with the surrounding atmosphere. Consistent with the development of his work to date and now exposed to his new Swiss environment, Marini evolved a balance between the abstract logic of form and the naturalistic intensity of representation for “a greater vitalism [verdeur]” and “a nostalgic pathos.”50 A similar connotation of both vigor and melancholy appeared in works published by Contini, such as the Miracle (Gothic Cathedral) (6.11).51 To be sure works such as these retained traces both of a Gothic accent, which can also be found in artists like Wotruba,52 and of the portraiture of Rodin, perhaps studied first hand in the presence of portraits of great impact in the Kunstmuseum Basel such as the Heroic Bust of Victor Hugo or, above all, the monumental head of Pierre de Wiessant, whose pained expressiveness is owed to the muscular forces of the twisted face, in a pose typical of Marini’s sculptures.53 Nevertheless, from the beginning, commentators sensed the presence, in that period of Marini’s work, of another source, remote but not at all incompatible with either the vertical of Gothic or the extreme of Rodin. In 1944 Alberto Sartoris traced a historical bridge for Marini’s “pensive sculpture,” “from the miraculous and compact exemplariness of the irreverent ‘Zuccone’ of Donatello” to the “solemn and hieratic statues of Marino Marini.”54 Donatello was of course known to Marini, who would have nursed memories, from the years of his training, of the great hall of the first floor of the Bargello, reinstalled after the centenary exhibition of 1887.55 But between the 1930s and 1940s, one finds in art writing a very particular interpretation of Donatello. “Dramatic” or “impudent romanticism,” the “dizzying ascent to inventive insolence and intensity of expression,” “voracity of new expression,” “impassioned and cruel art,” “energy [...] swollen and burst out in expression”: with such phrases Emilio Cecchi offered a penetrating profile of Donatello in his book of 6. IX. Desiderio da Settignano (historically attributed to Donatello), Bust of Niccolò da Uzzano, circa 1430 6. expressionisms 163 1942. Cecchi swept from the field pseudohumanist commonplaces and reclaimed for Donatello the “febrile work of the hand,” giving rise to “frenetic innovation,” of which the only possible precedent was, significantly, the work of Giovanni Pisano, champion of Italian Gothic. In a “subject laden with time and the effort of living,” Donatello showed the way to break the shackles of a realism that threatened the slide of sculpture into anecdote; before works such as the Niccolò da Uzzano (6.IX) or Habakkuk, the immediate confidence with the familiar type highlighted the novelty of a sculptor who “recasts myth into the substance of a transfigured humanity, into unexplored psychology, into [both] trembling and ardent sensibility; which he interprets and expresses in forms so convincing and decisive [that] they instantly become traditional in their turn.”56 Donatello’s lesson consisted, then, in the “courage of expression impas- 6.12. Germaine Richier The Toad, 1940 (from M. Gasser, Das Werk / L’Œuvre, 1946) 164 francesco guzzetti sioned and intransigent.”57 The repertoire of notions with which Cecchi read Donatello did not differ greatly from the vocabulary of the art criticism on Rodin of the same years. Cecchi might have been referring to the French sculptor as well when speaking of Donatello’s “extreme vigor and vibrancy of contours.”58 Virgilio Guzzi underlined this when, reviewing favorably Cecchi’s study in Primato, he opened by affirming that “one knows that Rodin bore a love for Donatello that he could not hide” and that Donatello’s name could not but circulate in the years of the return of sculpture to the “romantically alive and dramatic nature” beyond all archaism.59 The attention to Donatello’s most expressive features, in terms of a realism whose more or less antique sources were selected and filtered freely from sculpture to sculpture, could be found in other criticism of the period: from the more cautious, as in Rezio Buscaroli’s synopsis of 1942 which paid particular attention to his Gothic roots, to those more critical in which the knowledge of the expressive power of Donatello was implicit in evaluations of lack of finish or hesitancy of taste.60 Ludwig Goldscheider’s preface to the volume on Donatello published by Phaidon in 1941 in the same series as that of 1939 on Rodin, and still today in Marini’s library, focused above all on Donatello’s “expressive power,” and the late Donatello was significantly compared to Claus Sluter and to North European Gothic.61 When looking at the Miracle and the Archangels (6.11, 6.VII, 6.VIII), memory reverts, as has been suggested, to the sculptural typology of the reliquary-bust and to some 15th-century sources of the iconography of St. Bernardino of Siena.62 Nevertheless, the compositional device of the torsion of the head derives neither from these sources, nor from the aforementioned portraiture of Rodin, but actually from the more dramatic plastic effects of Donatello, such as the painted bust of Niccolò da Uzzano (now attributed to Desiderio da Settignano; 6.IX). In particular, the photographs in the Phaidon Press volume emphasize the chiaroscuro drama of the sitter’s strong features and the cones of shadow generated by the movement of the head (6.8).63 In Schneider-Lengyel’s plates for this volume, the angled viewpoint from which she photographed details privileges torsions and enhances the structure of light and shadow, such that even less “expressionist” works like the head of the Joshua from the Duomo of Florence (6.9) draw close to the head of the Archangel, not to mention the Habbakuk from Giotto’s Campanile and the later St. Francis on the Altar of the Santo in Padua.64 The effect, like a tranche de vie, of the photographer’s lens – an ‘eye’ trained on the work of Rodin less than two years earlier – was to give Donatello’s sculptures so strong a sense of verity (compared to the more isometric shots by Alinari and Brogi published by Cecchi) that it has been speculated on at least one occasion that each of them hide portraits of real people. Similarly, Marini’s Archangel combines strong spiritual and emotional tension (thus explaining the titles of his sculptures that year) with the physiognomy of his brother-in-law Gianni. The expressive force and novelty of composition of the Archangel, in the version severed at the knees which was then still in the museum in Basel (6.VIII), was documented 6. X. Marino Marini, Portrait of Germaine Richier, 1945 6. expressionisms 165 6.13. Marino Marini’s studio in Tenero, photographed by Fritz Wotruba, 1945 (Pistoia, Archivio Fotografico of the Fondazione Marino Marini) 166 francesco guzzetti from every angle in a formidable series of photos published in Domus in 1947 to illustrate an article by Elio Vittorini, previously published in Il Politecnico.65 These images revealed Marini’s interest in the motif of the knee-length figure, not new in itself, reconsidered on the basis of a concentrated and essential severity. The unifying profile of the mantle resolves the design, as if the poses in mild contrapposto of the Prophets on the Porta della Mandorla and of the closed form of St. George in the Bargello, and the gathering on the same page of the eight Prophets for the campanile in Florence in the book by Buscaroli, had left their trace on Marini.66 The photos in Domus show the hollowed out verso of the Archangel, as if it were destined for an imaginary niche, to which correspond the positioning of the arms, the volumetric closure of the body and the slight turn of the head that were Donatello’s devices for fitting his figures into real niches. Sometimes the photographs of the time show Donatello’s figures cut exactly at the knees, to focus attention on the expressive details and the chiaroscuro drama of sculptures that were in any case elongated to compensate for the foreshortening by original positions raised high on Giotto’s campanile. The images of St. John the Baptist in Florence and the previously mentioned St. Francis in Padua in the Phaidon book,67 or of the Jeremiah from the campanile in the Alinari photographs published by Cecchi,68 but above all that of the Beardless Prophet, similar to the Archangel in its aura of melancholy severity, in the 1939 monograph by Leo Planiscig, a writer well-known to Italian sculptors (6.10), testify to such an approach in picturing Donatello’s sculptures.69 Therefore, on the double track, strongly intersecting, of Rodin’s and Donatello’s expressivity, Marini developed his own way of looking at his sources to render plastic expressionism. As has been noted, the expressionist component reverberated in the pictorially fractured profile and the strong chiaroscuro colorism of the surfaces, and was based above all on a general rethinking of sculptural composition in order to attain the equilibrium of both truth to form and human truth, at a universal level. However much the stay in Switzerland may have been a parenthesis, it left an enduring mark on Marini’s work, as the poses and proportions of his female nudes or the expressivity of the portraits made on his return to Milan in 1946, that this section of the exhibition comprises (6.XV), witness. Today, after the reconstruction outlined in the previous pages, it may seem less 6. XI. Marino Marini, Archangel, 1943 6. XII. Marino Marini, Portrait of Karl von Schumacher, 1944 6. expressionisms 167 6. XIII. Marino Marini, Susanna, 1943 168 francesco guzzetti 6. XIV. Marino Marini, Juggler, 1944 6. expressionisms 169 strange that it had been a painter, Filippo de Pisis, who precociously invoked Donatello and Rodin as visual sources for Marini. Although with very different intentions and mainly concerning the Bacchus of 1935, de Pisis wrote that “Donatello would have insisted perhaps a little more on the modeling and on the refinement of the proportions; Rodin would have contaminated it with poorly digested literature and the sweet face would palpitate no more in this stone. And this is said simply to swap a few ideas [before deciding] that before a true work of art the best thing to do is to be silent.”70 I wish to thank Fabio Cafagna, Marcello Calogero, Chiara Fabi, Luca Giacomelli, Lorenza Guiot of the Cantonal Library of Locarno, Talia Kwartler of the Museum of Modern Art in New York, Mattia Patti, Maria Teresa Tosi. Fabi 2013. Marchiori 1953, p. 29. 3 Marino Marini 1998, no. 196. 4 This is the catalogue of the exhibition New Images of Man, edited by Peter Selz; see New York 1959, p. 14. Selz, scholar of expressionism, defined Germaine Richier’s sculpture in this way in comparison to Willem De Kooning’s paintings. 5 De Grada 1938. 6 Marino Marini 1998, nos. 124b, 133a. The portrait of Vitali was reproduced in Vita Giovanile, year I, no. 12, 15 July 1938, p. 5. 7 Morosini 1938. The article was illustrated with reproductions of the Horse in bronze from the Della Ragione collection (1937) and with a previous state of the Imaginary Portrait from the Marino Marini collection in Milan; see Marino Marini 1998, nos. 132, 140; Fabi 2015, pp. 42–43. 8 A Portrait in bronze was illustrated in De Grada’s review of the Quadriennale in Rome of 1939, otherwise entirely focused on painting (De Grada 1939), while approval of the Horse in the Cardazzo collection – “it has a structure all rigor but yet alive and warm” – concluded a report from Venice by Umbro Apollonio (Apollonio 1939). Lastly, in his review of the portfolio of drawings by Marini published by the Edizioni del Cavallino, Morosini could not but pick and appreciate the ones in which “the mark is undoubtedly – in the conventional sense – less pure: more obsessive [insistito] than that of the others, and fragmentary [...] of a yet greater plastic vitality” (Morosini 1939). 9 Guttuso 1945. 10 Guttuso 1938, p. 103. The head was the Portrait of Avvocato Vecchi, in Marino Marini 1998, no. 96b. 11 Guttuso 1940, p. 51; Guttuso, “La collezione Cardazzo alla Galleria di Roma,” L’Orsa, 27 May 1941, reprinted in Guttuso 2013, p. 185. For the two works, see Marino Marini 1998, nos. 147, 154b. 1 2 170 francesco guzzetti Venice 1948, p. 105. A corner of the room is reproduced in Marchiori 1953, plate XXI. 13 Guttuso 1948, p. 274. The article is accompanied by the image of Young Girl of 1943 (ibidem, p. 275). For the comparison between Marini and Manzù, see Rome 1947, n. p.: “If one excepts Marino and two or three younger artists, [Italian sculpture] found it easier to exert itself in rhetoric and sentimentalism; see the archaic and rhetorical mode of Martini’s style, and Manzù and his followers.” For the reception in Rome of the two artists see Cinelli 2014. 14 M. De Micheli, “La protesta dell’Espressionismo,” in Bahr 1945, pp. 5–21. 15 Il Politecnico 1945. 16 A. Martini, Scultura lingua morta, in Martini 1983, p. 111. 17 The quotation comes from Piovene 1941, p. 39. The Horse (ibidem, p. 36) was the version in terracotta of a work of 1939 (Marino Marini 1998, no. 155b). See also Orlandini 1943. 18 Argan 1942. 19 Marino Marini 1998, no. 287; Fabi 2015, p. 46. 20 Giolli 1943, p. 82. 21 The catalogue of the exhibition in Rome listed only a Head of a Woman in plaster (Rome 1943, no. 18, p. 31), reproduced in Emporium (Podestà 1943, p. 262), similar to the Portrait of America Vitali in plaster. 22 Ponti 1943, p. 52. 23 Marino Marini 1998, nos. 187, 190, 201. 24 Marini 1939. 25 Genoa 1941b. Of the many reviews, see especially that of Attilio Podestà, published in several magazines (Podestà 1941) and above all P.V. 1941. 26 Bahr 1945, p. 15. 27 Vitali 1944b. 28 Vitali 1946, pp. 27–28. 29 Brizio 1939, p. 459. 30 Ibidem, p. 458; see Gengaro 1941, p. 11. Martini spoke of Rodin on 6 September 1944 (Martini 2006, p. 247). 31 Carrieri mentions it for the first time in his 1948 monograph on Marini; see Carrieri 1948a, p. 8. 32 See in this catalogue Section 2, “The male nudes of the 1930s,” by Flavio Fergonzi. 33 Venice 1934, nos. 180–181, p. 48. 34 Pallucchini 1938; Marchiori 1938. The City of Rome also purchased in 1914 Mask of the Man with the Broken Nose; see Fergonzi 2005, pp. 46–47. In 1935, the Thinker and the Burghers of Calais were in the central Pavilion of the Biennale Gardens for the Mostra commemorativa dei Quarant’anni della Biennale (see Marchiori 1935; Moure Cecchini 2016). 35 Bourdelle 1937. Marini took part in the Exposition Art Italien Moderne in Paris in 1929 and at the 1932 Venice Biennale in the Mostra degli Italiani a Parigi; see Brescia 1998, p. 121. The Boxer purchased by the Jeu de Paume is in Marino Marini 1998, no. 102. 36 Fergonzi 2005, pp. 45–46; Fabi 2012, n. p. 37 Marino Marini 1998, no. 161. 38 The book was published in German and English; see Giedion-Welcker 1937, pp. 25, 164. For the author’s Italian contacts, see Mocchi 2015. 39 Carrieri 1948a, plate 17, p. 22; Marino Marini 1998, no. 167. 40 The volume on Donatello in the same series, to which we will return, is still in Marini’s library. 12 Rodin 1939, plates 30, 32–33, 74. Ibidem, plate 66; Marino Marini 1998, no. 151. 43 Fergonzi 2013, pp. 249–253. Woman Swimming Underwater recalls the plate of the Torso of Adèle in Rodin 1939, plate 42; the book of 1939 could also be the source of the photo of The Cathedral recalled by Egle Rosmini in the Atmosphere of a Head. 44 Brizio 1944, figs. 326, 328, plate XI. The three works were Torse d’Adèle (Torso of a Woman), Faunesse à genoux from the rear (Young Girl Kneeling) and La Femme accroupie (Nude Woman); there were also a drawing of a nude and L’Homme au nez cassé (The Man with the Broken Nose), the portrait of Dalou, and the head of Balzac (ibidem, figs. 324, 325, 327), already included in the previous edition. However, the illustrations for the latter were also changed, and derived from the Phaidon book (Rodin 1939, pp. 3, 30, 35, 38, 42, 80) to emphasize the potent effects of light on surfaces. 45 Bern 1945. The year before, the three sculptors together with Italian Arnold D’Altri exhibited at the Kunstmuseum Basel (Vier ausländische Bildhauer in der Schweiz, 14 October – 26 November 1944). 46 Wotruba’s photograph is in Verona 1994, p. 142. For the portraits by Richier see Marino Marini 1998, nos. 280, 289 and the entries in Fabi 2015, pp. 75–76. On the relations between the two artists, see De Costa 2006, pp. 33–40. 47 The plaster is reproduced in Rodin 1939, plate 78. For the Complete Portrait, see Marino Marini 1998, no. 188. 48 See Sougez 1933, plates 1–2. The album was republished in 1941. 49 See Saint-Paul de Vence 1996, pp. 34–35, no. 7. Richier exhibited the original plaster of The Toad in Bern: see Bern 1945, no. 27 (repr. in Gasser 1946, p. 69). The work by Marini is in Marino Marini 1998, nos. 204, 273. 50 Contini 1944, pp. IV, VII. On Marini’s polychrome in Marini’s sculpture, see Guzzetti 2012, pp. 107–11. 51 Contini 1944, plate 4. Marino Marini 1998, no. 195. 52 See, in the exhibition in Bern, the standing figures of the 1940s and the Pan of 1943: Bern 1945, nos. 37–44 (a view of the gallery is reproduced in Wotruba 2012, p. 49). 53 The two works entered the museum respectively in 1906 and 1938 (Basel 1946, p. 139). 54 Sartoris 1944, p. 223. 55 Barocchi, Gaeta Bertelà 1986, pp. 110–121. 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Valsecchi 1963 M. Valsecchi, “Interroghiamo i contemporanei. I giovani mi aiutano a capire il mondo d’oggi,” Tempo, 21 December 1963, pp. 36–42. Valsecchi 1972 M. Valsecchi, “Testimonianze del secolo. I ritratti di Marino,” Il Giorno, 26 February 1972. Valsecchi 1974 M. Valsecchi, “Pacco dono per Milano. Le opere incantate di Marini,” Tempo, 11 January 1974. Venturoli 1972 M. Venturoli, “Playmen intervista Marino Marini. Conversazione senza complessi con un grande artista che crede nell’uomo. Intervista raccolta da Marcello Venturoli,” Playmen, 6 June 1972, pp. 20–22. Veronesi 1951 G. Veronesi, “Sculture di Picasso,” Emporium, 1951, CXIII, no. 676, pp. 146–153. Vianello, Stringa, Gian Ferrari 1998 G. Vianello, N. Stringa, C. Gian Ferrari, Arturo Martini. Catalogo ragionato delle sculture, Vicenza, 1998. Vincenti 1972 L. Vincenti, “Incontro in Versilia con Marino Marini, grande scultore che il mondo intero ci invidia,” Oggi Illustrato, 26 September 1972, pp. 70–73. 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Ragghianti, Florence, 1946. Vitali 1948 L. Vitali, “Contemporary Sculptors. VII - Marino Marini,” Horizon, vol. XVIII, no. 105, September 1948, pp. 203–207. Vittori 2008–2009 L. Vittori, “Etruschi del Novecento,” Bollettino della Società Tarquiniense di Arte e Storia, XXXVII, 2008– 2009, pp. 217–238. Vittorini 1947a E. Vittorini, “Nomi e statue,” Il Politecnico, 35, January– March 1947, p. 80. Vittorini 1947b E. Vittorini, “Nomi e statue. A proposito dell’Arcangelo di Marino Marini,” Domus, no. 218, April 1947, pp. 16–22. Vivarelli 1993 P. Vivarelli, “La politica delle arti figurative negli anni del Premio Bergamo,” in Bergamo 1993, pp. 24–38. La Voce d’Italia/La voix d’Italie, 1949 R. R., “Intervista con Marino Marini. Leggendari cavalli creati nello spasimo della semplificazione,” La Voce d’Italia/La voix d’Italie. Settimanale d’informazioni per gli italiani all’estero, 25 January 1949. Vogue 1952 Vogue, 1 August 1952. XXe siècle 1951 “Message de la sculpture par Adam, Pevsner, Arp, Moore, Marini,” XX e siècle, no. 1, January 1951, p. 70. XXe siècle 1952 “Témoignages par Henri Matisse, Georges Braque, Fernand Léger, Jacques Villon, Gino Severini, Arp, Alberto Giacometti, Henri Laurens, Marino Marini, Henry Moore, Antoine Pevsner,” XXe siècle, no. 2, January 1952, p. 74. XXe siècle 1957 “A chacun sa réalité : Enquête,” XXe siècle, no. 9, June 1957, p. 35. Wilkinson 2002 A. Wilkinson (ed.), Henry Moore: Writings and Conversations, Aldershot, 2002. Wotruba 2012 Wotruba. Leben, Werk und Wirkung, edited by W. Seipel, Fritz Wotruba Privatstiftung, Vienna, 2012. Zander Rudenstine 1985 A. Zander Rudenstine, Peggy Guggenheim Collection, Venice, New York 1985. Zappia 2003 C. Zappia, “Picasso e gli Etruschi: arcaismo e classicismo del maestro del Novecento,” Ricerche di Storia dell’arte, 81, 2003, pp. 71–81. 253 EXHIBITION CATALOGUES Barga 2006 Adolfo Balduini nel Novecento toscano, curated by, N. Marchioni, exhibition catalogue (Barga, Fondazione Ricci Onlus, 2006), Pisa 2006. Bergamo 1993 Gli anni del Premio Bergamo. Arte in Italia intorno agli anni Trenta, exhibition catalogue (Bergamo, Galleria d’Arte Moderna e Contemporanea, 25 September 1993 – 9 January 1994), Milan, 1993. Bern 1945 Plastiken: Marino Marini Germaine Richier Fritz Wotruba Zeichnungen: Rodin Maillol Despiau, exhibition catalogue (Bern, Kunsthalle, 9 June – 8 July 1945) Bern, 1945. Bologna 2013–2014 Arturo Martini. Creature. Il sogno della terracotta, curated by N. Stringa, exhibition catalogue (Bologna, Palazzo Fava, 23 September 2013 – 12 January 2014; Faenza, MIC, 12 October 2013 – 30 March 2014), Bologna, 2013. Brescia 1998 Les Italiens de Paris, curated by M. Fagiolo dell’Arco, exhibition catalogue (Brescia, Palazzo Martinengo, 18 July – 22 November 1998), Geneva-Milan, 1998. Casole d’Elsa 2010 Marco Romano e il contesto artstico senese tra la fine del Duecento e gli inizi del Trecento, curated by A. Bagnoli, exhibition catalogue, Casole d’Elsa, 2010. Ferrara 1982 Fausto Pirandello, exhibition catalogue (Ferrara, Galleria civica d’arte moderna, 1982), Ferrara, 1982. Florence 1928 Sindacato Interprovinciale Fascista Belle Arti della Toscana. I Mostra Regionale d’Arte Toscana, Florence, 1928. Florence 1930 IV Mostra Regionale d’Arte Toscana, exhibition catalogue (Florence, Palazzo delle Esposizioni Parterre di San Gallo, 10 May – 30 July), Florence, 1930. Florence 1931 Sindacato Fascista Toscano Belle Arti. V Mostra Regionale d’Arte Toscana. Catalogo, Florence, 1931. Florence 1986 Omaggio a Donatello, curated by P. Barocchi, M. Collareta, G. Gaeta Bertelà, G. Gentilini, B. Paolozzi Strozzi, exhibition catalogue (Florence, Museo Nazionale del Bargello, 19 December 1985 – 30 May 1986), Florence, 1986. 254 Florence 1999a Arte sublime dell’antico Egitto, curated by M. Saleh Ali, exhibition catalogue (Florence, Palazzo Strozzi, 1999), Geneva-Milan, 1999. Florence 1999b Quinto Martini 1908–1990, curated by M. Fagioli and L. Minunno, exhibition catalogue (Florence, Museo Marino Marini, 1999), Florence, 1999. Florence 2015 La luce della solitudine. Gianfranco Ferroni agli Uffizi, curated by V. Farinella, exhibition catalogue (Florence, Galleria degli Uffizi, 2015), Cinisello Balsamo, 2015. Florence 2016–2017 Scoperte e massacri. Ardengo Soffici e le avanguardie a Firenze, curated by V. Farinella and N. Marchioni, exhibition catalogue (Florence, Uffizi, 2016–2017), Florence, 2016. Frankfurt, Ascoli Piceno, Teramo, Chieti, Rome 1999–2001 Piceni. Popolo d’Europa, curated by L. Franchi dell’Orto, exhibition catalogue (Frankfurt, Ascoli Piceno, Teramo, Chieti, Rome, 1999–2001), Rome, 1999. Genoa 1941 Mario Mafai Marino Marini in una mostra nelle nostre sale (Genoa, Galleria Genova, 15–29 March 1941), s.l. 1941. Livorno 2008 Marino Marini. Il segno la forma l’idea: sculture, tecniche miste, disegni, litografie e incisioni, curated by G. L. and M. Guastalla, exhibition catalogue (Livorno, Guastalla Centro Arte, 2008), Livorno, 2008. London 1990 On Classic Ground. Picasso, Léger, de Chirico and the New Classicism 1910–1930, curated by E. Cowling and J. Mundy, exhibition catalogue (London, Tate Gallery, 1990), London, 1990. Mamiano di Traversetolo 2014 Manzù/Marino, gli ultimi moderni, curated by L. D’Angelo, S. Roffi, exhibition catalogue (Mamiano di Traversetolo - Parma, Fondazione Magnani Rocca, 13 September – 8 December 2014), Cinisello Balsamo, 2014. Milan 1926 Catalogo della prima mostra del Novecento Italiano (Milan, Palazzo della Permanente, February–March 1926), Milan, 1926. Milan 1929 II Mostra del Novecento italiano, exhibition catalogue (Milan, Palazzo della Permanente, 2 March – 30 April 1929), Milan, 1929. Milan 1932 III Mostra d’Arte del Sindacato Regionale Fascista Belle Arti di Lombardia. Biennale di Brera, Milan, 1932. Milan 1937 Mostra delle Venti Firme (Milan, Galleria Il Milione, 23 January – 14 February 1937), Il Milione, no. 50, 1937. Milan 1953 Pablo Picasso, curated by F. Russoli, exhibition catalogue (Milan, Palazzo Reale, September–October), Milan, 1953. Milan 1972 Marino Marini. Personaggi del XX secolo, exhibition catalogue (Milan, Saletta Piero della Francesca, January – 15 April 1972), Milan, 1972. Milan 1985 Corrente: il movimento di arte e cultura di opposizione, 1930–1945, curated by M. De Micheli, exhibition catalogue (Milan, Palazzo Reale, 25 January – 28 April 1985), Milan, 1985. Milan 1998 Marino Marini. Le opere e i libri, curated by F. Gualdoni, exhibition catalogue (Milan, Biblioteca di via Senato, 18 June – 13 September 1998), Milan, 1998. Milan 2017 New York New York. Arte Italiana. La riscoperta dell’America, curated by F. Tedeschi, exhibition catalogue (Milan, Museo del Novecento-Gallerie d’Italia, 3 April – 17 September 2017), Milan, 2017. Milan-Rome 2006–2007 Arturo Martini, curated by C. Gian Ferrari, E. Pontiggia and L. Velani, exhibition catalogue (Milan, Palazzo della Permanente - Rome, Galleria Nazionale d’Arte Moderna, 2006–2007), Milan-Rome, 2006. Modena 1983 Disegno italiano fra due guerre, curated by P. G. Castagnoli and P. Fossati, exhibition catalogue (Modena, Galleria Civica, July–October 1983), Modena, 1983. Modena 1986 Roma 1934 1986 = Roma 1934, curated by G. Appella, F. D’Amico, exhibition catalogue (Modena, Galleria Civica, Palazzo dei Musei, April–May 1986), Modena, 1986. Monza 1930 Catalogo Ufficiale della IV Esposizione Internazionale Triennale delle Arti Decorative e Industriali Moderne (Monza, May–October 1930), Milano, 1930. New York 1948 Sculpture, exhibition catalogue (New York, Buchholz Gallery, 28 September – 16 October 1948), New York, 1948. New York 1949a XXth-Century Italian Art, curated by J. T. Soby and A. H. Barr, Jr, exhibition catalogue (New York, The Museum of Modern Art, April–September 1949), New York 1949. Pescara 2002–2003 Massimo Campigli: pittura e archeologia, curated by N. Campigli and R. Di Sabatino, exhibition catalogue (Pescara, Museo d’Arte Moderna “Vittoria Colonna”, 15 December 2002 – 2 March 2003), Pescara, 2002. Saint-Paul-de-Vence 1996 Germaine Richier. Rétrospective, curated by J.-L. Prat, exhibition catalogue (Saint-Paul-deVence, Fondation Maeght, 5 April – 25 June 1996), Saint-Paul-de-Vence 1996. New York 1949b Henri Matisse and Henry Moore (Buchholz Gallery), New York, 1949. Pordenone 2005 Ado Furlan 1905–1971. Lo scultore e le passioni del suo tempo, curated by F. Fergonzi, exhibition catalogue (Pordenone, Convento di San Francesco, 10 December 2005 – 26 February 2006), Milan, 2005. Trieste 2007 Mascherini e la scultura europea del Novecento, curated by F. Fergonzi, A. Del Puppo, exhibition catalogue (Trieste, Civico Museo Revoltella e Salone degli Incanti Ex Pescheria Centrale, 28 July –14 October 2007), Milan 2007. New York 1949c Pablo Picasso, recent work (New York, Buchholz Gallery, 8 March – 2 April 1949), New York, 1949. New York 1950 Marino Marini, curated by J. T. Soby, exhibition catalogue (New York, Buchholz Gallery, 14 February – 11 March 1950), New York 1950. New York 1951 Henry Moore (Buchholz Gallery, 6–31 March 1951), New York, 1951. New York 1953 Marino Marini, exhibition catalogue (New York, Curt Valentin Gallery, 27 October – 21 November 1953), New York 1953, n. p. New York 1959 New Images of Man, curated by P. Selz, exhibition catalogue (New York, The Museum of Modern Art, 30 September – 29 November 1959), New York, 1959. Nuoro 2012 Marino Marini. Cavalli e cavalieri, curated by L. Giusti, A. Salvadori, exhibition catalogue (Nuoro, Museo d’Arte Moderna, 14 December 2012 – 24 February 2013), Cinisello Balsamo, 2012. Paris 1937 L’Italia all’Esposizione Internazionale di Parigi, Paris, 1937. Paris 1953 Le Cubisme, curated by J. Cassou, B. Dorival, exhibition catalogue (Paris, Musée d’Art Moderne), Paris, 1953. Paris 1986 La Sculpture française au XIXe siècle, curated by A. Pingeot, exhibition catalogue (Paris, Galeries Nationales du Grand Palais, 10 April – 28 July 1986), Paris, 1986. Paris 2009 Oublier Rodin? La Sculpture à Paris 1905–1914, curated by C. Chevillot, exhibition catalogue (Paris, Musée d’Orsay, 10 March – 31 May 2009), Paris, 2009. Parma 2014 Manzù/Marino. Gli ultimi moderni, curated by L. D’Angelo, S. Roffi, exhibition catalogue, Fondazione Magnani Rocca, Parma 2014. Rome 1931 I Quadriennale d’Arte Nazionale. Catalogo generale, Rome 1931. Rome 1932 Galleria Sabatello. Mostra di Marino Marini (Rome, 6–13 November 1932), Rome, 1932. Rome 1935 Seconda Quadriennale d’Arte Nazionale. Catalogo generale (Rome, Palazzo delle Esposizioni, February–July 1935), Rome-Milan, 1935. Rome 1939 III Quadriennale d’Arte Nazionale. Catalogo generale (Rome, Palazzo delle Esposizioni, February–July 1939), Milan-Rome, 1939. Rome 1943 IV Quadriennale d’Arte Nazionale (Rome, Palazzo delle Esposizioni, May–July 1943), Rome, 1943. Rome 1947 Roberto Melli, foreword by R. Guttuso, exhibition catalogue (Rome, Galleria del Secolo, April–May 1947), Rome, 1947. Rome 1988 Mazzacurati e gli artisti di “Fronte”, exhibition catalogue (Rome, Palazzo del Rettorato, Città Universitaria, 15 March – 16 April 1988), Rome, 1988. Rome 1991 Marino Marini. Antologica 1919–1978, curated by M. Calvesi, E. Steingräber, exhibition catalogue (Rome, Accademia di Francia, Villa Medici, 7 March –19 May 1991), Rome, 1991. Rome 1994–1995 Carlo Carrà 1881–1966, curated by A. Monferini, exhibition catalogue (Rome, Galleria Nazionale d’Arte Moderna, 1994–1995), Milan, 1994. Rome-Ardea 2016–2017 Manzu. Dialoghi sulla spiritualità con Lucio Fontana, curated by B. Cinelli and D. Colombo, exhibition catalogue (Rome, Museo Nazionale di Castel Sant’Angelo - Ardea, Museo Giacomo Manzù, 8 December 2016 – 5 March 2017), Rome, 2017. Venice 1928 Catalogo della XVII Esposizione Biennale Internazionale d’Arte di Venezia, Venice, 1928. Venice 1930 XVII Esposizione Internazionale d’Arte della città di Venezia. Catalogo, Venice, 1930. Venice 1932 XVIII Esposizione Biennale Internazionale d’Arte 1932. Catalogo, Venice, 1932. Venice 1934 XIX Esposizione Biennale Internazionale d’Arte 1934. Catalogo, Venice 1934. Venice 1936 XX Esposizione Biennale Internazionale d’Arte 1936. Catalogo, Venice 1936. Venice 1938 XXI Esposizione Biennale Internazionale d’Arte di Venezia. Catalogo, Venice 1938. Venice 1948 XXIV Biennale di Venezia. Catalogo, Venice 1948. Venezia 1952 XXVI Biennale di Venezia. Catalogo, Venice 1952. Venice 1983 Marino Marini. Sculture, pitture, disegni dal 1914 al 1977, curated by M. De Micheli, exhibition catalogue (Venice, Palazzo Grassi, 28 May – 15 August 1983), Florence, 1983. Verona 1994 Marino Marini. Mitografia. Sculture e dipinti 19361966, curated by C. Pirovano, exhibition catalogue (Verona, Galleria dello Scudo, 1 December 1994 – 12 February 1995), Verona, 1994. Verona 2007 Peggy Guggenheim. Un amore per la scultura, curated by L. M. Barbero, exhibition catalogue (Verona, Fondazione Cariverona, February–April 2007), Verona, 2007. 255
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Objective This study has the purpose of developing an epidemiological profile of children with neurodevelopmental disorders in southern Puerto Rico. Methods This is an exploratory study with a mixed design that was carried out in a diagnostic center located in Ponce, Puerto Rico. The population under study were children within 0-18-years-old of both sexes diagnosed with a neurodevelopmental disorder using the diagnostic and statistical manual of mental disorders (DSM-4) and DSM-5 criteria. The sample under investigation were all the children in the secondary database of children who received health services in the diagnostic center during 2016-2017. Additionally, to the data from the secondary database, a hand-writing record review was performed to obtain data related to comorbidities and family history. The bivariate and multivariate analysis evaluated the association between each neurodevelopmental disorder, and each disease reported in the family history of diseases. Also bivaria...
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Variables Influencing Participants' Choice of Training Institutions for Training Program
Volume 1, 2024
SXC JOURNAL (sxc journal)
This study compares variables influencing Participants’ choice of training institutions for participant program in Kathmandu Valley. Choice of training institutions for training program is taken as dependent variable. Costs, locations, academic career goal, training institutions affiliations and environment are independent variables. The primary sources of data are utilized to reach the opinions of respondents with respect to choice of training institution for training program in Kathmandu Valley. The survey is based on one hundred respondents. To obtain the purpose of the study, structured questionnaires are framed. The regression models are projected to trial the significance and impact of variables affecting choice of the training institutions for training program in Kathmandu Valley. The result shows that location, environment and Training Academic affiliation are positively connect to choice of training institutions for training program. It signifies that better the environment and Training Academics affiliation higher would be the choice of liked training institutions. The result also shows that more proper the location of the training institutions, greater is the chance of selecting the training institutions for training program. The regression result shows the cost, environment and training institutions affiliation have positive impact on choice of training institutions for training program. In the same manner, the beta coefficients for carrier goal and locations have significant positive impact of the selecting training institutions for training program, which is significant at 5 percent level of significance. Overall, the selecting of training institutions for training program in Kathmandu Valley is affected by the carrier goals followed by the location
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Sandeep paper on Antifeedant activity
Dr. Sandeep K U M A R Panwar
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The Effects of Thallium Acetate on Hepatopancreatic Cells of Gammarus pulex (Crustacea: Amphipoda)
Ekoloji, 2011
Ozgul Ozalp
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Representing Time and Modality in Narratives with Conceptual Graphs
Lecture Notes in Computer Science, 2003
Peter Øhrstrøm
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A Brief Insight to the Electrophoretic Deposition of PEEK-, Chitosan-, Gelatin-, and Zein-Based Composite Coatings for Biomedical Applications: Recent Developments and Challenges
Surfaces, 2021
Abdul Wadood
Electrophoretic deposition (EPD) is a powerful technique to assemble metals, polymer, ceramics, and composite materials into 2D, 3D, and intricately shaped implants. Polymers, proteins, and peptides can be deposited via EPD at room temperature without affecting their chemical structures. Furthermore, EPD is being used to deposit multifunctional coatings (i.e., bioactive, antibacterial, and biocompatible coatings). Recently, EPD was used to architect multi-structured coatings to improve mechanical and biological properties along with the controlled release of drugs/metallic ions. The key characteristics of EPD coatings in terms of inorganic bioactivity and their angiogenic potential coupled with antibacterial properties are the key elements enabling advanced applications of EPD in orthopedic applications. In the emerging field of EPD coatings for hard tissue and soft tissue engineering, an overview of such applications will be presented. The progress in the development of EPD-based p...
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