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Publishers Weekly Review

Unlike most equestrian statues, which exalt a triumphal figure, the horse-and-rider pieces of Italian sculptor Marino Marini (1901-1980) seek to commemorate ``something tragic, a kind of Twilight of Man,'' in the artist's words. His equestrian studies are rooted in the devastation of his native Tuscany during WW II. Equally affecting are the grisly human figures inspired by fossilized corpses unearthed at Pompeii, victims of the eruption of Mount Vesuvius in 79 A.D. As Hunter, a Princeton art historian, explains in his thoughtful essay, Marini uses Archaic Greek, Etruscan and Roman motifs to confront the dislocations of the modern world. Also on display in Finn's photographs are Marini's androgynous archangels, eloquent dancers, melancholy jugglers and acrobats, and his probing portrait heads of Igor Stravinsky, Oscar Kokoschka and Mies van der Rohe. This lavish album includes a brief reminiscence by Marini's widow and 168 plates (70 in color). (Apr.) (c) Copyright PWxyz, LLC. All rights reserved

CHOICE Review

Marini has long been acknowledged as a major figure in modern sculpture. His gentle, expressionistic sculptures of horses and riders are virtual tokens of the post-WW II era known even to the casual student of modern art. Unfortunately, relatively little literature is available on the sculpture of this important artist. The major English publication about him, Complete Works of Marino Marini, by Herbert Read, G. di San Lazzaro, and Patrick Waldberg (1971), is out of print. Other substantial works on the artist either are in Italian or do not focus on his sculpture. The book under review is a serious effort to fill this void, but welcome as this publication is, it comes up short of its full potential. Its strengths are considerable: it pairs a substantial biocritical essay by leading American art historian and critic Hunter with an excellent photographic study of Marini sculpture by internationally noted photographer Finn. Both contributors knew the artist personally and enjoyed the full cooperation of his widow, Marina, who provides a brief but touching introduction to the book. Where the project stumbles is in the integration of its material. Because Unter's essay and Finn's photographs appear largely independent of each other, it is tedious and sometimes impossible to reference images to text. Nevertheless, this is an important addition to the literature of modern sculpture, providing an intelligent and insightful summary, plus 168 illustrations (including 70 full-color plates). Advanced undergraduate; graduate; general. J. A. Day; University of South Dakota

Booklist Review

A native of Tuscany and very sensitive to the chaos and tragedy of his times, Marino Marini (1901-80) was influenced both by his region's renowned classical art and by the unparalleled forces of destruction unleashed by the world wars. Art historian Sam Hunter and photographer David Finn provide a striking survey of Marini's intensely expressive, iconographic sculpture. Hunter's fine narrative blends biographical information with insightful discussions of the roots and meaning of Marini's resonant symbolism and aesthetic evolution, while Finn's perfectly lit and composed photographs capture the full force of the sculptures' powerful form, dramatic tension, and rich surface texture. Marini is most famous for his equestrian figures, which range from noble and triumphant pairings of rider and horse to near-apocalyptic struggles of man and beast in the grip of cosmic fear and dread. His dignified nudes provide a quiet counterpoint; these female figures are natural descendants of the grand classical tradition and exude a meditative strength. Evocative quotes from the artist deepen the experience of viewing his work: "Nothing is created, nothing is destroyed, but everything is transformed." ~--Donna Seaman