My 'Pomone' live in a bright world, with their sunny disposition, full of humanity, of abundance, and of great sensuality. they represent a happy sea… - Marino Marini
" "My 'Pomone' live in a bright world, with their sunny disposition, full of humanity, of abundance, and of great sensuality. they represent a happy season that breaks the tragic time of war. in all these images, femininity is enriched with all its past meanings, those most inherent, most mysterious: a sort of unavoidable necessity, of unmovable stillness, of primitive and unconscious fertility. The figure, the statue, instead demands a wider research of shapes, of lines, of bodies. My women, that some find awkward, respond to this preoccupation. In the figure, I propose to myself to deepen the way I play with volume in a togetherness that is always more united, more steady, yet also free and nimble. But this research on volume is not the only premise of the sculptor, who need not ever forget what moves most in a sculpture is always its inspiration.
English
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About Marino Marini
Marino Marini (27 February 1901 - 6 August 1980) was an Italian sculptor artist, famous for his many sculptures of 'Horse and Rider'.
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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 Silver Age of antiquity. I feel that these works are always a bit too melodramatic. If you really want to find the sources of my present style in antiquity, I must confess that you will find them in the remains of the life of the past rather than in those of its art. The fossilized corpses that have been unearthed in Pompeii.. ..if the whole earth is destroyed in our atomic age, I feel that the human forms which may survive as mere fossils will have become sculptures similar to mine.
We must enter into the spirit of the character [for making a portrait]: here the challenge is to place this figure in the human space, to work out what he represents in relation to other people, other human personalities; when you've worked this out, you're done. this truth has to stand out in the end result of the portrait.. ..when this task is complete, and the subject is placed in the realm of the dead that go on living, I hand over my work.
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I am no longer seeking, in my own equestrian figures, to celebrate the triumph of any victorious hero. On the contrary, I seek to commemorate in them something tragic – in fact, a kind of 'Twilight of Man', a defeat rather than a victory. If you look back on all my equestrian figures of the past twelve years [between 1946 – 1958] you will notice that the rider is each time less in control of his mount, and that the latter is each time more wild in its terror, but frozen stiff, rather than reared or running away. All this is because I feel that we are on the eve of the end of a whole world.
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