“God created man in his own image,” says the Bible, but Michelangelo almost succeeded in creating the form of David in marble to Godly perfection. Proudly stands David at the Academia in the city of Ferenze, Italy, proclaiming its magnificent artistic wealth. Presiding over the banks of the mighty Arno river, Florence is a sprawling museum in itself. Adding to Florentine wealth of art is the Museo Marino Marini, situated at the Piazza San Pancrazio.
One of the oldest in Florence, the church of San Pancrazio has a long history. In the 15th century, it was restored by Leon Battista Alberti for the Rucelli family. In the 18th century, it was modernised by Giuseppe Ruggeri. During the Napoleonic suppression, it was used as a law court, and later as a tobacco warehouse. It even became a military depot. Ultimately, this house of God was destined to become home for an artist’s creations. This deconsecrated church was redesigned as a museum to pay homage to one of the celebrated sons of Italy, Marino Marini, the sculptor unparalleled.
To house the collection donated to the city by Marino Marini and his wife Marina, the church was modified by Lorenzo Papi and Bruno Sacchi. Since many of Marini’s works are done for outdoor installation, an exhibition area with airy space and atmospheric lighting has been developed keeping the architectural character of the ancient church intact. For example, the intense light from the apse window bathes the monumental Horseman, the first exhibit in the museum. The original is situated in a public park in the Hague.
My first glimpse of Marini’s original horseman was at the Peggy Guggenheim collection on the banks of the Venetian grand canal. The fiery horse galloping towards the river is being restrained by the struggling horseman. His body is stretched and tensed by the power of the horse, yet the forms of the horse and man both retain an unbelievable grace and charm.
The exhibition of the museum from the period after WW II are housed in the apse and transept. They represent the exhausted horsemen overwhelmed by the vigour of their horses, and are executed in rugged forms.
High artistic strength and pure serenity mark a group of sculptures from the early 30s that denote the forms of maidens and reckless horsemen. A collection of the works from the early 20s to the 40s shows stylistic empathy with the Etruscan forms. They also have an affinity with the works of Italian sculptor Arturo Martini. Several Italian artists along with Marini preferred an affinity with Etruscan terracotta fragments to the dazzling Mediterranean marble.
One of the best-known artistic traits of Marini was his ability to produce portraits of high artistic integrity. A section shows these works that include a portrait of famous German expressionist Oskar Kokoschka, done in the 70s. Jugglers, horsemen and Pomona’s were some of the recurring themes that Marini dealt with. A 1939 Juggler in Bronze is on display on the top floor.
Born in Pistoia of the Tuscany region in 1901, Marino Marini joined the Accademia Di Belle Arti in Florence at age 16. He was taught painting by Galileo Chini and sculpture by Domenico Trentacoste. His early years of creative activity at the Via Degli Artistici were devoted to drawing and painting. His first major work in sculpture, a terracotta piece, was created when he was 28. In 1929, Arturo Martini invited him to Milan to teach at Villa Realer in Monza. The same year, Marini visited Paris and participated in an exhibition at Nice with the Novecento group. Three years later, he had his first one-man show in Milan. He won the first prize at the Rome Quadrennial in 1935. A year later, he married Mercides Pedrazzini.
—yusufarakkal1@gmail.com