But I am no longer trying to formulate a stylised version of anxiety such as we find in the Laocoon group and in so many other sculptures of the Silv… - Marino Marini

Machines change their style so rapidly. If one tries to reproduce them in art as realistically as man and the horse in classical art, one immediately lapses into a kind of anecdotic or documentary art.. .Only the stylisation of a painter like Leger could integrate the machine as the subject matter of art. Here in Italy, the futurists, before 1914, attempted a similar integration of the machine.. ..César [French sculptor, in the generation of Marini] creates with elements borrowed from industry and the world of machines, sculptural fossils that appear to have survived the same kind of catastrophe as my own figures. But I would like to show you [ interviewer w:Eduard Roditi now in my studio my latest fossils..

The Romantic painters were already addicted to a cult of the horse as an aristocratic beast.. ..From Géricault and Constantin Guys [both Romantic French painters] to Degas and Dufy, this cult of the horse found its expression in a new attitude towards sport and military life.. .In Odilon Redon’s visionary renderings of horses and later in those of Picasso and Chirico, we then see the horse become part of the fauna of a world of dreams and myths.

I had been born in an Earthly Paradise [in Tuscany, Italy] from which we all have expelled. Not so long ago a sculptor could still be content with a search for full, sensual and vigorous forms. But in the past fifteen years [1943 – 1958], nearly all our new sculpture has tended to create forms that are disintegrating.