DESCRIPTION : Here for sale is an EXQUISITE English ART BOOK , Being an HOMMAGE to MARIO MARINI - " HOMAGE to MARINO MARINI " . This luxurious edition which was published in NYC in 1974 by XXe SIECLE and TUDOR publishing co , Around 45 years ago includes a GIANT large FOLD OUT - Double spread ORIGINAL COLORFUL LITHOGRAPH , SIGNED "MARINO" in the plate, Especialy created by MARINO MARINI for the issue of the XXe SIECLE. Printed by MOURLOT Imprimeur PARIS 1974.  The LARGE exquisite ALBUM is throughout ILLUSTRATED and PHOTOGRAPHED in COLOR and B&W .  Contains 136 pages of COLORFUL and B&W pieces. ALL the reproductions and articles are dedicated to the ART of MARINO MARINI . With texts and quotations in ENGLISH. ORIGINAL blue cloth HC . Gilt embossed headings. Illustrated thick chromo DJ .12.5 x 10" . 136 throughout illustrated chromo pages. ORIGINAL LARGE ( Double page fold out ) COLOR LITHOGRAPH .Excellent condition in and out . Inner condition is FINE. Tightly bound. Absolutely clean. Cloth HC intact. The ORIGINAL LITHOGRAPH is present and intact.  ( Pls look at scan for accurate AS IS  images )  Book will be sent inside a protective packaging .  

IMPORTANT REMARK : Several copies on the market lack the ORIGINAL LITHOGRAPH  - This RARE copy includes the ORIGINAL LITHOGRAPH and the seven LINOCUTS in excellent condition.

AUTHENTICITY : This BOOK including the original LITHOGRAPH is fully guaranteed ORIGINAL , NOT a reproduction or a recent reprint , It holds a life long GUARANTEE for its AUTHENTICITY and ORIGINALITY.

PAYMENTS : payment method accepted : Paypal & All credit cards.

SHIPPMENT : Shipp worldwide via Airmail $ 35 . Book will be sent inside a protective packaging . Handling around 5-10 days after payment. 

Marino Marini (27 February 1901 – 6 August 1980) was an Italian sculptor.[1][2] Contents 1 Biography 2 Career 3 Work 4 References 5 Bibliography 6 External links 7 Exhibition Catalogues Biography[edit] He attended the Accademia di Belle Arti in Florence in 1917. Although he never abandoned painting, Marini devoted himself primarily to sculpture from about 1922. From this time his work was influenced by Etruscan art and the sculpture of Arturo Martini. Marini succeeded Martini as professor at the Scuola d’Arte di Villa Reale in Monza, near Milan, in 1929, a position he retained until 1940. During this period, Marini traveled frequently to Paris, where he associated with Massimo Campigli, Giorgio de Chirico, Alberto Magnelli, and Filippo Tibertelli de Pisis. In 1936 he moved to Tenero-Locarno, in Ticino Canton, Switzerland; during the following few years the artist often visited Zürich and Basel, where he became a friend of Alberto Giacometti, Germaine Richier, and Fritz Wotruba. In 1936, he received the Prize of the Quadriennale of Rome. In 1938, he married Mercedes Pedrazzini.[3] He accepted a professorship in sculpture at the Accademia di Belle Arti di Brera, Milan, in 1940. In 1943, he went into exile in Switzerland, exhibiting in Basel, Bern, and Zurich.[3] In 1946, the artist settled permanently in Milan. He is buried at Cimitero Comunale of Pistoia, Toscana, Italy. Career[edit] Marino Marini, photo by Paolo Monti, 1963 (Fondo Paolo Monti, BEIC). He participated in the 'Twentieth-Century Italian Art' show at the Museum of Modern Art in New York City in 1944. Curt Valentin began exhibiting Marini's work at his Buchholz Gallery in New York in 1950, on which occasion the sculptor visited the city and met Jean Arp, Max Beckmann, Alexander Calder, Lyonel Feininger, and Jacques Lipchitz. On his return to Europe, he stopped in London, where the Hanover Gallery had organized a solo show of his work, and there met Henry Moore. In 1951 a Marini exhibition traveled from the Kestner-Gesellschaft Hannover to the Kunstverein in Hamburg and the Haus der Kunst of Munich. He was awarded the Grand Prize for Sculpture at the Venice Biennale in 1952 and the Feltrinelli Prize at the Accademia dei Lincei in Rome in 1954. One of his monumental sculptures was installed in The Hague in 1959.[4] Retrospectives of Marini's work took place at the Kunsthaus Zürich in 1962 and at the Palazzo Venezia in Rome in 1966. His paintings were exhibited for the first time at Toninelli Arte Moderna in Milan in 1963–64. In 1973 a permanent installation of his work opened at the Galleria d’Arte Moderna in Milan, and in 1978 a Marini show was presented at the National Museum of Modern Art in Tokyo. There is a museum dedicated to his work in Florence (in the former church of San Pancrazio).[5] His work may also be found in museums such as the Civic Gallery of Modern Art in Milan, the Tate Collection,[6] The Angel of the City at the Peggy Guggenheim Collection, Venice,[7] the Norton Simon Museum,[8] Museum de Fundatie [9] and the Hirshhorn Museum and Sculpture Garden in Washington, D.C.[10] Work[edit] The Pilgrim (Il pellegrino), bronze sculpture by Marino Marini, 1939, Museum of Fine Arts, Houston Miracolo, 1959/60. Equestrian sculpture by Marino Marini in front of the Neue Pinakothek in Munich Rider (Arcangelo), 1959, The Hague Marini developed several themes in sculpture: equestrian, Pomonas (nudes), portraits, and circus figures.[11] He drew on traditions of Etruscan and Northern European sculpture in developing these themes. His aim was to develop mythical images by interpreting classical themes in light of modern concerns and techniques.[12] Marini is particularly famous for his series of stylised equestrian statues, which feature a man with outstretched arms on a horse. The evolution of the horse and rider as a subject in Marini's works reflects the artist's response to the changing context of the modern world. This theme appeared in his work in 1936. At first the proportions of horse and rider are slender and both are "poised, formal, and calm." By the next year the horse is depicted rearing and the rider gesturing. By 1940 the forms are simpler and more archaic in spirit; the proportions squatter.[12] After World War II, in the late 1940s, the horse is planted, immobile, with neck extended, ears pinned back, mouth open. An example, in the Peggy Guggenheim Collection in Venice, is "The Angel of the City," depicting "affirmation and charged strength associated explicitly with sexual potency."[12] In later works, the rider is, increasingly, oblivious of his mount, "involved in his own visions or anxieties." In the artist's final work, the rider is unseated as the horse falls to the ground in an "apocalyptic image of lost control" which parallels Marini's growing despair for the future of the world.[12] **** Marino Marini, (born February 27, 1901, Pistoia, Italy—died August 6, 1980, Viareggio), Italian artist who was instrumental in the revival of the art of portrait sculpture in Italy during the first half of the 20th century. Marini studied painting and sculpture at the Academy of Fine Arts in Florence. After concentrating on painting for most of the 1920s, he created his first important sculptures about 1928. He consistently refined two major images: the female nude and the horse and rider. His sensitivity to form and surface owes much to Etruscan and Roman works, but the inner tension of his bold, straining figures reflects the influence of German Gothic sculpture. Marini often enriched the surface of his sculptures with chisel work and corrosive dyes, an effect that is especially notable in the Dancer series of the 1940s and ’50s. He sculpted a number of portraits in bronze and plaster, and he sought to reveal the spiritual substratum of his subjects; his portrait of the composer Igor Stravinsky (1951) is a striking example of this psychological insight. In his later work Marini adopted a heightened, almost architectural sense of scale and an increasing tendency toward abstraction. Marini was professor of sculpture at the Brera Academy in Milan from 1940 until his retirement in 1970. He returned to painting in 1948, working in a colourful, abstract style. Marini is also known for his work in etching and lithography. ****  Marino Marini The Angel of the City L'angelo della citta Marino Marini drew on the tradition of Etruscan and Northern European sculpture in developing his themes of the female nude, the portrait bust, and the equestrian figure. By interpreting classical themes in light of modern concerns and with modern techniques, he sought to contribute a mythic image that would be applicable in a contemporary context. The evolution of the subject of the horse and rider reflects Marini’s personal response to that changing context. The theme first appears in his work in 1936, when the proportions of horse and rider are relatively slender and both figures are poised, formal, and calm. By the following year the horse rears and the rider gestures. In 1940 the forms become simplified and more archaic in spirit, and the proportions become squatter. By the late 1940s the horse is planted immobile with its neck extended, strained, ears pinned back, and mouth open, as in the present example, which conveys the qualities characteristic of this period of Marini’s work—affirmation and charged strength associated explicitly with sexual potency. Later, the rider becomes increasingly oblivious of his mount, involved in his own visions or anxieties. Eventually he was to topple from the horse as it fell to the ground in an apocalyptic image of lost control, paralleling Marini’s feelings of despair and uncertainty about the future of the world. **** Marino Marini was born in Pistoia in 1901. In 1917 he enrolled at the Academy of Fine Arts in Florence where he attended the painting courses of Galileo Chini and the sculpture of Domenico Trentacoste. The first years of his activity are dedicated to painting, drawing and graphics. In 1926 he resides in Florence; the following year he met Arturo Martini in Monza who, two years later, called him to succeed him to teach at the ISIA, at the Villa Reale in Monza. In 1928 he took part in the “Novecento” group exhibition in Milan. In 1929 he stayed in Paris, where he had the opportunity to get in touch with De Pisis, Picasso, Maillol, Lipchitz, Braque, Laurents. On the direct advice of Mario Tozzi, he sent the terracotta sculpture “Popolo” to the Esposition d'art italien moderne at the Bonaparte gallery in Paris. His first solo show, in Milan, was in 1932; in 1935 he won the first prize for sculpture at the Rome Quadriennale. These are the years in which Marino circumscribes his artistic research to two essential themes: the knight and the pomona. In 1938 he married Mercedes Pedrazzini, affectionately renamed Marina, who would be close to him for life. In 1940 he left teaching in Monza for the chair of sculpture at the Brera Academy, which he held until 1943, when, due to the outbreak of the war, he took refuge in Switzerland. In these years he has the opportunity to frequent Wotruba, Germaine Richier, Giacometti, Haller, Banninger and to get in touch with the most advanced artistic realities in Europe. He exhibits in Basel, Bern, Zurich. After the war, Marino returns to Milan, reopening his studio and resuming teaching in Brera. In 1948 the Venice Biennale dedicates a personal room to him; he meets Henry Moore, with whom he forms a particularly important friendship for his artistic production, and Curt Valentin, a merchant who makes him known on the European and American market. During his American stay he meets Arp, Feininger, Calder, Dalì, Tanguy. International exhibitions and official recognition intensify starting from the personal exhibition in New York in 1950, to the equestrian monument commissioned by the municipality of The Hague in 1958-59, to the exhibitions in Zurich (1962), Rome (1966) and the exhibition itinerant in Japan (1978). From the seventies, museums dedicated to him take shape. In 1973 the Marino Marini Museum was inaugurated in Milan in the Civic Gallery of Modern Art. In 1976 the New Picture Gallery of Munich dedicated a permanent room to him. In 1979 the documentation center of Marino Marini's work was inaugurated in Pistoia, which since 1989 has been located in the restored Convent of the Tau. Marino died in Viareggio in 1980. A few years later, in 1988, the Marino Marini Museum in Florence was inaugurated, following a donation of works to the Tuscan capital, a city strongly loved by Marino. ***  Marino Marini B. 1901, PISTOIA, ITALY; D. 1980, VIAREGGIO, ITALY Marino Marini was born in the Tuscan town of Pistoia on February 27, 1901. He attended the Accademia di Belle Arti in Florence in 1917. Although he never abandoned painting, Marini devoted himself primarily to sculpture from about 1922. From this time his work was influenced by Etruscan art and the sculpture of Arturo Martini. Marini succeeded Martini as professor at the Scuola d'Arte di Villa Reale in Monza, near Milan, in 1929, a position he retained until 1940. During this period Marini traveled frequently to Paris, where he associated with Massimo Campigli, Giorgio de Chirico, Alberto Magnelli, and Filippo Tibertelli de Pisis. In 1936 he moved to Tenero-Locarno, in the Ticino canton, Switzerland; during the following few years the artist often visited Zurich and Basel, where he became a friend of Alberto Giacometti, Germaine Richier, and Fritz Wotruba. In 1936 he received the Prize of the Quadriennale of Rome. He accepted a professorship in sculpture at the Accademia di Belle Arti di Brera, Milan, in 1940. In 1946 the artist settled permanently in Milan. He participated in Twentieth-Century Italian Art at the Museum of Modern Art in New York in 1949. Curt Valentin began exhibiting Marini's work at his Buchholz Gallery in New York in 1950, on which occasion the sculptor visited the city and met Jean Arp, Max Beckmann, Alexander Calder, Lyonel Feininger, and Jacques Lipchitz. On his return to Europe, he stopped in London, where the Hanover Gallery had organized a solo show of his work, and there met Henry Moore. In 1951 a Marini exhibition traveled from the Kestner-Gesellschaft Hannover to the Kunstverein in Hamburg and the Haus der Kunst of Munich. He was awarded the Grand Prize for Sculpture at the Venice Biennale in 1952 and the Feltrinelli Prize at the Accademia dei Lincei in Rome in 1954. One of his monumental sculptures was installed in the Hague in 1959. Retrospectives of Marini's work took place at the Kunsthaus Zürich in 1962 and at the Palazzo Venezia in Rome in 1966. His paintings were exhibited for the first time at Toninelli Arte Moderna in Milan in 1963–64. In 1973 a permanent installation of his work opened at the Galleria d'Arte Moderna in Milan, and in 1978 a Marini show was presented at the National Museum of Modern Art in Tokyo. Marini died on August 6, 1980, in Viareggio..[106].     ebay4619