Press Release. Marino Marini. Visual Passions Peggy Guggenheim Collection, Venice January 27 May 1, 2018

Press Release. Visual Passions Peggy Guggenheim Collection, Venice January 27 May 1, 2018 From January 27 through May 1, 2018, the Peggy Guggenheim Collection presents the exhibition. Visual Passions, curated by Barbara Cinelli and Flavio Fergonzi with the collaboration of Chiara Fabi. This is the first retrospective dedicated to. The show intends to contextualize Marini s work in a broader art historical context. More than 70 works are exhibited in the temporary exhibition galleries as well as in the museum s Project Rooms and the adjoining veranda.. Visual Passions has been overseen by a scientific committee comprised of the curators and Philip Rylands, Salvatore Settis, Carlo Sisi and Maria Teresa Tosi. The intimate galleries of the Peggy Guggenheim Collection, the exhibition s second venue after Palazzo Fabroni in Pistoia, allow an unprecedented, concentrated and close examination of more than fifty sculptures by. These are exhibited together with twenty additional works ranging from antiquity to the 20th century which lend comparison to Marini s work. The exhibition allows for an intensive dialogue between Marini s sculptures and those from the Italian plastic tradition which interested the artist the great models of the 20th century and important examples of the sculptural tradition from past centuries: Egyptian, ancient Greek and Etruscan antiquities, Medieval, Renaissance and 19th-century sculpture which have never before been exhibited at Palazzo Venier dei Leoni. Such dialogue offers a new and critically innovative point of view on the themes addressed by Marini, moving beyond the limits of chronology, styles and periods. Following Marini s artistic production from the 1920s to the 1950s, each room displays aspects of this dialogue. In the first two rooms early heads and busts are flanked by Etruscan heads and canopies, an ancient Greek head from Selinunte and a Renaissance bust by Andrea Verrocchio; while People, a terracotta work from 1929 which marked a decisive turning point, is exhibited together with the cover of an important Etruscan burial urn. Toward the middle of the 1930s, Marini focused on the subject of the male nude and produced a series of statues destined to leave a mark on European sculpture, as evidenced by the comparison between two great wooden works of his and two significant sculptures on the same theme by Arturo Martini and Giacomo Manzù. During those years and the years to follow, Marini expanded his subjects. Three of his masterpieces Icarus, a Rider and a Miracle are reunited in a subsequent room and testify to the surprising range of languages and styles with which Marini, at the height of his expressive abilities, put himself to the test. The exhibition continues with a room dedicated to the Pomonas and female nudes that Marini created based on an original and modern reworking of post-rodin classicism. Marini transformed the female body into an abstract form. His nudes are exhibited together with those of Ernesto De Fiori and Palazzo Venier dei Leoni Dorsoduro 701 30123 Venezia (39) 041 2405 415 guggenheim-venice.it

Aristide Maillol. Some of Marini s drawings give testimony to the phases of the plastic invention of the female nude; drawing was a medium especially dear to him. Around 1940, while most Italian and European sculptors appear to abandon the lessons of Auguste Rodin, Marini revisited them and began a new season of research that led to confronting the existential form of Germaine Richier. Two small rooms present these comparisons. They are particularly important because in the war years, while exiled in Switzerland, Marini seemed to veer toward a dramatic plastic expressionism. In the post-war years, Marini investigated the theme of the Horse and Rider in more abstract forms and created an important body of works, displayed in the following three rooms. These are Marini s most significant and successful works, they were sought after by international collectors and were decisive in establishing Marini s prominent position within contemporary figurative sculpture. The Peggy Guggenheim Collection s notable piece, The Angel of the City (1948), is one of the most iconic works in the collection and is still exhibited where Peggy Guggenheim decided to place it, between the gates of Palazzo Venier dei Leoni overlooking the Grand Canal. Peggy Guggenheim bought the plaster version of The Angel of the City in 1948 and the following year Marini cast the sculpture in bronze, in time to be exhibited in the Contemporary Sculpture Exhibition, curated and organized by Peggy herself in the garden of Palazzo Venier dei Leoni. The exhibition continues with a gallery dedicated to portraits. Marini reinvented the meaning of sculptural portraiture. Drawing from the past, specifically Egyptian art, he pursued pure monumental volume while at the same time paying close attention to the personality of the subject. A comparison between two Portraits of America Vitali, one by Marini and one by his contemporary Giacomo Manzù, highlight the polarities of sculptural portraiture in Italy before the war. After the war Marini invented a new language for the expressive rendition of the human face. This language looked at Cubist decompositions and Expressionist deformations and made him the greatest portrait-sculptor of the century. After 1950 the subject of the unseated Rider was the occasion for a purely spatial research. As shown in the last room dedicated to the famous Miracles", the subject became almost unrecognizable. The series of Jugglers is exhibited next to Etruscan bronzes and works by Henry Moore, while the small and large Warriors and the Reclining Figures of the 1950s and 1960s are compared with the Tuscan tradition of Giovanni Pisano and the more experimental solutions by Pablo Picasso. The exhibition is made possible thanks to the support of Lavazza, Global Partner of the Solomon R. Guggenheim Foundation. This collaboration, which began four years ago, shows the avant-garde spirit and value that Lavazza has displayed since its foundation in Turin in 1895. The exhibitions of the Peggy Guggenheim Collection are supported by the Institutional Patrons EFG, Lavazza and Regione del Veneto, by the Guggenheim Intrapresæ and by the Advisory Board of the museum. The educational programs related to the exhibition are funded by the Fondazione Araldi Guinetti, Vaduz. Daily 3:30pm free presentations of the exhibition; museum ticket purchase required. Palazzo Venier dei Leoni Dorsoduro 701 30123 Venezia (39) 041 2405 415 guggenheim-venice.it

Palazzo Venier dei Leoni Dorsoduro 701 30123 Venezia (39) 041 2405 415 guggenheim-venice.it

TITLE VENUE AND DATE. Visual Passions Peggy Guggenheim Collection January 27 May 1, 2018 CURATORS OVERVIEW CATALOGUE ADMISSION TICKET TO THE COLLECTION Barbara Cinelli and Flavio Fergonzi with the collaboration of Chiara Fabi. The exhibition presents major works by (1901 80) and selected works by artists such as Giacomo Manzù, Henry Moore, Pablo Picasso, Auguste Rodin, as well as Etruscan objects and Italian sculptures from the 15th century. The show intends to contextualize Marini s work in a broader art historical context and to establish a closer and innovative dialogue between his work and the sculptural tradition he referred to. The exhibition. Visual Passions is accompanied by a comprehensive catalog, published by Silvana Editoriale, with essays by the curators Flavio Fergonzi, Barbara Cinelli, contributions by Chiara Fabi, Gianmarco Russo, Francesco Guzzetti and a complete list of works. Price: 35 Regular euro 15; seniors euro 13 (over 65); students euro 9 (under 26 or with a student ID card); children 0-10 yrs and members free entrance (further information on membership: membership@guggenheim-venice.it). Admission tickets allow the public to visit the temporary exhibition, the permanent collection, the Hannelore B. and Rudolph B. Schulhof Collection and the Nasher Sculpture Garden. Free guided tours of the temporary exhibitions are daily at 3.30 pm. Reservations are not required. HOURS Daily from 10am to 6pm, closed on Tuesday and December 25 INFORMATION BOOKINGS AND GUIDED TOURS tel. +39.041.2405440/419 EDUCATIONAL ACTIVITIES tel. +30.041.2405401/444 HOW TO ARRIVE COMMUNICATION AND PRESS OFFICE info@guggenheim-venice.it / www.guggenheim-venice.it Vaporetto n. 1/2 Accademia stop Alexia Boro, Maria Rita Cerilli / tel. +39.041.2405404/415 Please, once published, send the article to: press@guggenheim-venice.it

. Visual Passions The Exhibition was the most famous and admired Italian sculptor of the 20th century and his work has been shown in many important museums around the world. The exhibition is not just a retrospective, but the result of a research project that started from the simple observation that the time has come to discuss Marini s work within the canons of art history. The statement may sound obvious, but this kind of research had yet to be carried out. The myths created around the figure of Marini (the artist-potter, the reborn Etruscan, the Tuscan primitive artist who, despite his wishes, was found to be modern), heavily conditioned the interpretation of his work. Marini was considered an artist outside history. Therefore, his work still had to be studied within the evolution of 20th-century European sculpture, which Marini had always taken into consideration; as well as in relation to antique sculpture, which was a constant source of inspiration for the artist.. Visual Passions is a reaction to this traditional interpretation. It wishes to draw attention to the artist s work and, as indicated by the title, hopes to point out the specific constituents of his visual language. This has been achieved by comparing Marini s sculptures to a series of works, ranging from pre-classical to contemporary art, by other artists a method that has never been attempted before. Visitors will be able to compare the works on display and see Marini s indebtedness not only to Etruscan sculpture, but also to Greek and ancient Eastern art; they will be be able to view his dialogue with some of the most important works by Arturo Martini and Giacomo Manzù (on the theme of the male nude), and with works by Ernesto De Fiori and Aristide Maillol (on the theme of the female nude); they will discover Marini s unexpected interest in 15th-century Florentine sculpture and in Auguste Rodin, at the time of his more expressionist phase in the 1940s; they will also be able to decide whether Marini gathered his new ideas, thanks to his friendship with Henry Moore, from Mediaeval Italian sculpture, in particular that by Giovanni Pisano. This is not an ordinary retrospective nor a hagiographic show. This exhibition aims to offer a historically researched reflection on the ties that linked Marini s work from the 1920s to the 1960s and the history of 20th-century modernism. This is the only possible way to give Marini s career a truly international dimension. Archaic Beginnings Works exhibited in this gallery date from the outset of s career when, in the late 1920s and early 1930s, he began exhibiting his work on a national level. His work was immediately noticed and appreciated for breaking away from the over-decorative and classicist style that was fashionable in Italy at the time, and for revealing the artist s ability to confront its sculptural tradition and ancient origins in particular without any hint of inferiority. This is well exemplified by Marini s The Priest (1927) and two sculptures from the collections of Florentine museums, which aroused Marini s interest. An Etruscan canopic vase (625 580 BCE) with its simple lines was a useful source for reducing the bust to a geometric solid. A Bust of a Young Man (late 15th century) by a sculptor from the circle of Andrea del Verrocchio blends an abstract volumetric synthesis and a care for details expressed by the terracotta. Here the 15th-century tabard worn by the young man is transformed into the cassock worn by The Priest, with its row of buttons and a band around the neck. Marini s reference to archaeology is perhaps best exemplified by People, the terracotta sculpture he modelled in 1929 and later mutilated. Its Palazzo Venier dei Leoni Dorsoduro 701 30123 Venezia (39) 041 2405 415 guggenheim-venice.it

contiguity to an Etruscan cover for a double funerary urn with the dead man and Vanth (early 4th century BCE), from the collection of the Museo Archeologico Nazionale in Florence, highlights the components of the Etruscan style in Marini. The faces of his two figures, with their strikingly common features and a ceremonial, static pose, are in tune with the climate of general rediscovery of Etruscan art that was taking place in Italy in the 1920s. The Imaginary Portrait (1938) in terracotta completes the gallery. The comparison with a marble head from the Temple of Selinunte (Sicily) clearly shows that Marini was tackling the format of the fragment, but with a new sensibility. It is not a literal quote from antiquity, but an evocation of his intention to once again endow sculpture with the representation of myth and the unreal, as was the case in past Mediterranean civilizations. The Virile Nudes of the 1930s This gallery displays two male nudes carried out by in the 1930s, Swimmer (1932) an Boxer (1935), together with male nudes by two other Italian sculptors, Tobit (1933) by Arturo Martini and David (1938) by Giacomo Manzù. The four works are fine examples of the male nude, a sculptural theme that had triumphantly come back into fashion. Admired for the dialogue with the great Greek and Roman traditions of heroic nudes, male nudes were considered superior to the female nudes because of their plastic complexity. Marini s two sculptures both portray sporting subjects: the artist however preferred to highlight the inner concentration of the Swimmer or the physical suffering of the defeated Boxer, rather than dwell on the athlete s physical strength. Sculpture in wood was rarely contemplated among the Italian artists of the period, who preferred to mould their sculptures in clay. By using this technique, Marini wanted to emphasize his interest in the pure volumetric and plastic values of the human figure, enhanced by carving it directly in wood. For both his Swimmer and Boxer, Marini took his cue from earlier male nudes modelled by Martini, his ideal master, who was twelve years older. Here the Boxer is placed in direct comparison with Martini s Tobit, a bronze that was considered a masterpiece for its complex pose and the sophisticated rendering of the muscles. Marini responded with opposite features: the body is perfectly proportioned and studied from the real model, but the muscular structure is rigid and archaic. Manzù s David was considered by many contemporaries a workmanifesto for the modern version of the male nude, due to the non-heroic subject (it does not represent an athlete but a fragile child), and an interest in subtle psychological values, expressed through the delicate chiaroscuro of the modelling. From the late 1930s, Marini and Manzù represented the two most advanced positions in figurative sculpture in Italy. Marino was a firm believer in the primacy of the plastic form, while Manzù tended to concentrate on the subject s sentimental content. Different Subjects, Different Languages s sculptural output was neither limited to a few subjects nor stylistically consistent, as much as post-war studies made us believe. Instead, he went through different stylistic phases and accepted challenges from many subjects. Such unexpected variety is expressed in this gallery, where three of his masterpieces from the 1930s to the 1950s are exhibited. Icarus (1933), a sculpture in wood, shown in 1935 at the II Quadriennale d Arte Nazionale, Rome, challenged one of the fundamental principles of sculpture, which required the statue to stand on a base. Icarus represented instead a body falling into space. Moreover, the body offered a stiff frontal view, like those in Gothic crucifixes, allowing Marini to emphasize the complex motifs formed by the diagonals and the broken lines of the arms and legs. The Pilgrim (1939), whose original plaster version is on display here, is a fine example of a favorable moment in Marini s career as he was developing the theme of the rider. Marino resumed the coexistence of geometric spirit and imaginative pathos in ancient monuments and proclaimed his research to be based on the concept of silent stupefaction (as he defined it in 1938). The slender Palazzo Venier dei Leoni Dorsoduro 701 30123 Venezia (39) 041 2405 415 guggenheim-venice.it

grace of the horse, borrowed from classical models, contrasts with the suffered modeling of the rider, while the composition is resolved into a mysterious harmony of profiles which constantly change as the viewer moves around the work. In the wooden Miracle (1955), now in the collection of the Kunstmuseum Basel, the horse has fallen to the ground and the rider arches his back in an effort to halt the fall. Here Marini represented a dramatic event and the inherent tension in both the horse and the rider is highlighted by volumetric synthesis defined by the rough lines of the wood. Marini studie Cubist spatial relations and was influenced by Pablo Picasso s Guernica (1937) as metaphor of the violent and tragic nature of history and human condition. The Female Nudes and the Pomonas In the 1960s claimed that he had begun his Pomona series some thirty years earlier ( Junoesque women, archaic and complete, sculpted in the round ), because he had felt the need to create an absolute and virgin form. The female body appeared to him as a bridge towards poetry. The subject had already been treated in European art. A few decades earlier Aristide Maillol had considered it a high theme, the base for an endless variety of sculptures, here exemplified by Harmony (1940 44), his final and conclusive sculpture of the series on this subject. Another precedent was offered by a sculptor long admired by Marini, Ernesto De Fiori: his large Standing Female Nude, created in Berlin in 1927, dominated by the artists search for plastic synthesis had caused a reassessment of Auguste Rodin s style of modelling. Between 1938 and 1945 Marini, with his female nudes, was able to reposition Italian sculpture in an international context without being diminished by current trends. His Pomonas could in fact meet the great challenge of reconciling natural forms and abstract syntheses. The fluidity of the anatomical construction coexists with the complex surface effects and the desire for absolute form in Young Girl (1938), which explains the mutilation of the arms. The composition of the various parts became more severe and controlled in the Pomona of 1940 with her arms behind her back. The Pomona of 1945 was composed with such an articulated rhythm that it recalls its incomparable precedents in the traditions of antiquity and of Donatello. A careful observation of these works helps us to understand a statement written by Marini in 1939, and therefore contemporary with the execution of the first Pomona: the female nude, the sculptor argued, requires a vast search for forms, lines and masses. My women, whom some find clumsy, are an answer to this concern. In the figure, I commit myself to analyze, within the ever more unified, fixed and yet free and relaxed whole, the natural play of volumes. Lessons from Rodin Auguste Rodin, the great French sculptor of the late 19th century, was a major figure in Marino Marini s career, who discovered the works of the French master during his sojourns in Paris in the 1920s and 1930s. However, books also played a part. The fine illustrations accompanying a monograph of 1939, published by Phaidon, dispensed with the traditional reading of Rodin as a monumental sculptor: making use of the plates in this book, Marini developed an unprecedented sensitivity towards the relations between light and shade on the surfaces of the bodies, for poses set freely in space and for mutilated figures. Two works of 1940 confirm this rapport. The mutilated Juggler is here compared to Rodin s Torse Morhardt (ca. 1895). Marini s consideration of Rodin s mature language conveys a new, dramatic significance to the theme of the fragment. The small Juggler balancing on his side is indebted to the unprejudiced freedom of Rodin s Juggler (ca. 1892 95), which sacrifices formal stability for a continuity of forms. It was in the years 1942 45, when he lived in Switzerland, that Marini studied Rodin s important legacy for the following generation of German and French sculptors, such as Fritz Wotruba and Germaine Richier, whose Pomona (1945) is exhibited here. Palazzo Venier dei Leoni Dorsoduro 701 30123 Venezia (39) 041 2405 415 guggenheim-venice.it

Thanks to his international relations, Marini s study of Rodin was enriched with a strong expressionist tone: the Small Nude (1943) gives voice to a feeling of bitter constraint rather than female seduction and illustrates Marini s ultimate reflections on Rodin s similar motifs, as exemplified by his Tragic Muse (1893 94). Sojourn in Switzerland Following the bombings in the autumn of 1942, which had seriously damaged his house in Milan and his studio in Monza, moved to Tenero, near Locarno, where he remained until 1945. His work during that period reflected his renewed interest in the sculpture of Donatello, alongside his reprise of Auguste Rodin. This same interest was shared by French sculptor Germaine Richier, whom Marini came to know while in Switzerland. His Portrait of Germaine Richier (1945) brings to mind memories of Donatello s busts. Marini s reference to early Renaissance realism was also expressed, in the war years, in the subtle balance between the individual features of the people he portrayed and the tragic human condition they embodied. This harmony is what lies behind the charm of the portrait of his brother-in-law, Archangel (1943), whose pose is reminiscent of the Prophets in Santa Maria del Fiore in Florence. Moreover, the carving of the facial features and the bent neck, which Marini sometimes used to increase dramatic expression, derived from the expressive power in Donatello s portraits. In the Swiss years, Marini s passion for Donatello was enriched by his interest in German Gothic art. In a monograph published in 1941 Donatello was compared to North European Gothic expressionism. The anatomical deformations in Susanna (1943) refer to this period in the history of sculpture. In this grieving nude Marini intensified the expressionist experimentation he had started in the late 1930s, when he seemed to be in tune with the young Milanese painters of the Corrente group, who addressed the discomfort of Fascist rule and the tragedy of war. Small Horses made the small polychrome and ceramic terracotta sculptures exhibited in this gallery beginning in 1942 while he was in Ticino. The difficulties of the war years forced him to work on a smaller scale. He created horses and riders painted in bright colors or else stained, with simplified forms and swollen shapes, swiftly modeled, and often, with their broken bits and surface fractures, aimed to provide the viewer with the impression of an archeological find. These sculptures reveal Marini s interest in archaeological sources, objects which had interested him since the 1930s but which he discovered anew in the isolation of his sojourn in Tenero. He drew inspiration from publications, copies of which can be found in the sculptor s library: the Griechische Terrakotten (Greek Terracottas) catalog, published in 1936, and the Etruscan Sculpture monograph published in 1941. These merged with memories of his visits to the Museo Archeologico Nazionale in Florence, as suggested here by the comparison with the cover with sculpted handles in the form of two riders (610 590 BCE). These small sculptures are crucial for understanding the production of Marini s new riders, profoundly innovative compared to those he made in the 1930s. The concentration on the horse itself, explored in all its forms and combinations with the rider, gave Marini the necessary confidence in the design and in the combination of forms and set the scene for his successful production in the immediate post-war period. Horses and Riders The development of the theme of the rider, which gave international notoriety, is presented here and the two adjacent galleries. Marini s explorations of archaic Greek and Etruscan art, and even Chinese sculpture (as exemplified by the comparison between the bronze Horse [1942] and a rare terracotta horse of the Tang dynasty [618 907]), influenced his work since 1942 and converged Palazzo Venier dei Leoni Dorsoduro 701 30123 Venezia (39) 041 2405 415 guggenheim-venice.it

together in his Rider (1945). One Rider was purchased by James Thrall Soby for the Museum of Modern Art in New York during his trip to Italy in 1948. This would mark the beginning of Marini s international fame. The success of his one man show in New York in 1950 spurred a constant interest from critics and collectors in his Riders, while the numerous photographs published in magazines helped spread his success among a non-specialist audience. Through varied combinations of the horse and rider, Marini continued his research of the dynamics of forms until the 1950s. By highlighting the plastic separation of these sculptures through forceful or blocked gestures, he reached an unexpected wealth of profiles and torsions in the bodies of his increasingly unbalanced riders. He arrived at a progressive geometric synthesis, which scholars interpreted as a clever update of Picasso s Cubism and which is best exemplified by Rider (1952). The horse is no longer in a position of repose but under exceptional strain and dramatically anchored to the pedestal, and the diagonals generated by the four legs are reiterated by the unbalanced position of the rider. Visual perspectives are thus multiplied to obtain an almost rotating movement to be found in the subsequent Miracles. Portraits Portraiture was genuinely loved and assiduously carried out by, who is considered one of the greatest sculptural portraitists of the 20th century. No other sculptor has combined both a search for what he called the poetry expressed by the face of the sitter (the moral, psychological and profound character), and a quest for forms that alone were expressive in their purely plastic relations as he has. The gallery opens with an exceptional comparison between the Portraits of American Vitali by both Marini and Giacomo Manzù. Marini portrayed the wife of the art critic Lamberto Vitali in stone in 1938. He resolved the compact geometrical synthesis and the intensity of the model s traits by creating an image of impassive archaic severity and mysterious seduction. The following year, Vitali commissioned Manzù to carry out another portrait of his wife, this time in bronze. The soft flow of the modelling in this work follows a single line, from the hands resting on her lap up to her intense smile, offering the viewer a profound sentimental exchange with the sitter. In his portraits of the 1940s and 1950s, Marini heightened the expressive value of the bronze surface, by utilizing irregular patinas, cold chasing on both plaster and bronze, and color emphasis. He alternated affectionate psychological inquiries, as in the portraits of friends like Filippo de Pisis, and the art dealer Carlo Cardazzo, with sophisticated volumetric syntheses, as in the bust of Täteli Grandjean (the wife of the Swiss physician and researcher Étienne Grandjean, who met Marini in Zurich during the war), or almost caricatural deformations, as in the second portrait of Igor Stravinsky, modelled in bronze in 1951, when the famous composer came to Milan to direct two concerts at the Teatro alla Scala. Marini s plastic deformations veered towards violent expressionism in the 1952 portrait in plaster of Christian Faerber (Marini s patron in Scandinavia in the 1950s) and in the 1953 portrait of gallerist Curt Valentin (the main promoter of Marini s American and international success). The latter was carried out at Forte dei Marmi (Tuscany) shortly before Valentin s premature death. New Formal Challenges after World War II The last gallery opens with a group of Jugglers created between 1953 and 1956. The essentiality of compositional schemes and the potential of color tints to underline the simplified intersections of angles, lines, and certain physiognomic details once more confirm that Marini referred to Pablo Picasso. But the range of Marini s sources is wider, as indicated by the two small Etruscan bronzes (5th century BCE) and Three Standing Figures (1953) by Henry Moore. The comparison between these works is an opportunity to understand how the language of archaic sculpture may bring two modern Palazzo Venier dei Leoni Dorsoduro 701 30123 Venezia (39) 041 2405 415 guggenheim-venice.it

sculptors toward similar vertical forms and an unprecedented representation of space in the relations of solids and voids. In the 1950s Marini s encounters brought him to formulate new plastic experimentations. The seemingly slight acrobats can be thus compared to the Miracles, overturned riders where the horse has fallen to the ground and the rider is almost lost and whose title may refer to the return of peace in the post-war years. Two works of 1953 54 document this new phase, where the prismatic effects on the surfaces point to an analysis of the Cubist vocabulary, enabling him to emphasize the constructive skeleton of the forms. This tendency suggests a comparison with contemporaneous works by Picasso. The horizontal intersecting of forms or the sharp angles piercing the figures in his Woman and Dog Playing, Blue Ground (1953) have precise echoes in Marini s Warriors which followed Miracles, an example of which, probably completed in 1958, is exhibited here. However, the harsh surface of this Warrior (1958 59), which seems to allow an inner skeleton to emerge, bears an intriguing similarity with an older, unusual work, The She-Wolf Suckling Romulus and Remus (early 14th century) by Giovanni Pisano, a visual passion Marini shared with Moore, who looked to Pisano as an unsurpassed example of the sound construction that is the mark of true sculpture. Marini s Miracle- Composition (1957 58) concludes the exhibition and summarizes the sculptor s multiple references: a contemporary discourse which moved beyond the figurative tradition, combining post-cubist sculpture with the formal and expressive dynamics of Gothic sculpture. Palazzo Venier dei Leoni Dorsoduro 701 30123 Venezia (39) 041 2405 415 guggenheim-venice.it

MARINO MARINI. Passioni visive Ingresso 1. Pomona, 1945 162 x 66 x 53 cm Pistoia, Fondazione Entrance Pomona, 1945 162 x 66 x 53 cm Pistoia, Fondazione 2. Gentiluomo a cavallo, 1937 154,5 x 132 x 84,3 cm Roma, Camera dei Deputati Gentleman on Horseback, 1937 154.5 x 132 x 84.3 cm Rome, Camera dei Deputati 3. Ritratto di Lucosius, 1935 Terracotta policroma 31,5 x 24 x 23, 5 cm Milano, Museo del Novecento, Collezione Portrait of Lucosius, 1935 Polychrome terracotta 31.5 x 24 x 23.5 cm Milan, Museo del Novecento, Collection 4. Testa di donna (Ritratto della Signora Verga), 1936 37 Terracotta 24 x 18 x 23 cm Firenze, Musei Civici Fiorentini 5. Arte etrusca Testa maschile, dal deposito votivo del tempio in località Manganello di Cerveteri, primi decenni del I secolo a.c Terracotta policroma 32 x 20 x 25 cm Roma, Museo Nazionale Etrusco di Villa Giulia Female Head (Portrait of Signora Verga), 1936 37 Terracotta 24 x 18 x 23 cm Florence, Musei Civici Fiorentini Etruscan art Male Head, from the votive deposit of the temple of Manganello de Cerveteri, early 1 st century BCE Polychrome terracotta 32 x 20 x 25 cm Rome, Museo Nazionale Etrusco di Villa Giulia Stanza 1 Room 1 6. Arte etrusca Canopo in impasto buccheroide, da Chiusi 625 580 a.c Ceramica nera 51,5 x 33 x 20 cm Firenze, Museo Archeologico Nazionale Etruscan art Canopic vase in bucchero (black clay), from Chiusi 625 580 BCE Black ceramic 51.5 x 33 x 20 cm Florence, Museo Archeologico Nazionale 1

MARINO MARINI. Passioni visive 7. Ambito di Andrea del Verrocchio Busto di giovane (Piero di Lorenzo de Medici), Ultimo quarto XV sec. Terracotta dipinta 50 x 30 x 23 cm Firenze, Museo Nazionale del Bargello 8. Prete (Busto di prelato), 1927 Cera e gesso 59 x 34 x 27 cm Roma, Galleria Nazionale d'arte Moderna e Contemporanea Circle of Andrea del Verrocchio Bust of a Young Man (Piero, son of Lorenzo de Medici), Late 15 th century Painted terracotta 50 x 30 x 23 cm Florence, Museo Nazionale del Bargello Priest, 1927 Wax and plaster 59 x 34 x 27 cm Rome, Galleria Nazionale d Arte Moderna e Contemporanea 9. Arte greca Metopa (frammento) 460 450 a.c. Marmo 9 x 22 x 13 cm Palermo, Museo Archeologico Antonio Salinas 10. Ritratto immaginario (Ricordo di civiltà lontane), 1937 Terracotta 22 x 18 x 15,5 cm Milano, Museo del Novecento Collezione 11. Arte etrusca Coperchio di cinerario con defunto e Lasa, inizio del IV sec. a.c. Pietra fetida 80 x 130 x 39 cm Firenze, Museo Archeologico Nazionale 12. Popolo, 1929 Terracotta 66 x 109 x 47 cm Milano, Museo del Novecento Collezione Greek art Metope, fragment, 460 450 BCE Marble h 19.3 cm Palermo, Museo Archeologico Antonino Salinas Imaginary Portrait (Memory of Past Civilizations), 1937 Terracotta 22 x 18 x 15.5 cm Milan, Museo del Novecento, Collection Etruscan art Cover of a Double Funerary Urn, with the Dead Man and Vanth, early 4th century BCE Memorial-ossuary limestone 80 x 130 x 39 cm Florence, Museo Archeologico Nazionale People, 1929 Terracotta 66 x 109 x 47 cm Milan, Museo del Novecento, Collection Stanza 2 Room 2 13. Arturo Martini Tobiolo, 1933 125 x 85 x 155 Collezione privata Arturo Martini Tobit, 1933 125 x 85 x 155 cm Private collection 2

MARINO MARINI. Passioni visive 14. Giacomo Manzù David, 1938 58 x 53 x 48 cm Milano, collezione privata Giacomo Manzù David, 1938 58 x 53 x 48 cm Milan, Private collection 15. Nuotatore, 1932 Legno 113,5 x 43,2 x 50 cm Firenze, Museo Swimmer, 1932 Wood 113.5 x 43.2 x 50 cm Florence, Museo 16. Pugile, 1935 Legno 119 x 75 x 109,5 cm Parigi, Centre Pompidou Musée national d art moderne Centre de creation industrielle Boxer, 1935 Wood 119 x 75 x 109.5 cm Paris, Centre Pompidou, Musée National d Art Moderne Centre de création industrielle Stanza 3 Room 3 17. Icaro, 1933 Legno 180 x 70 x 50 cm Collezione privata Icarus, 1933 Wood 180 x 70 x 50 cm Private collection 18. Miracolo, 1955 Legno policromo 116 x 165,5 x 77 cm Basel, Kunstmuseum Miracle, 1955 Polychrome wood 116 x 165.5 x 77 cm Basel, Kunstmuseum 19. Il pellegrino (San Giacomo a cavallo), 1939 Gesso 174 x 141 x 51 cm Milano, collezione privata The Pilgrim (St. James), 1939 Plaster 174 x 141 x 51 cm Milan, private collection Corridoio Corridor 3

MARINO MARINI. Passioni visive 20. Nudo, 1939 Inchiostro rosso e nero e tempera su carta 34,8 x 26,2 cm Pistoia, Fondazione Nude, 1939 Red and black ink, and tempera on paper 34.8 x 26.2 cm Pistoia, Fondazione 21. Pomona, 1942 Inchiostro e tempera su carta 38,3 x 29 cm Pistoia, Fondazione Pomona, 1942 Ink and tempera on paper 38.3 x 29 cm Pistoia, Fondazione 22. Pomona, 1947 Mtita, inchiostro e bistro su carta 32 x 22,7 cm Pistoia, Fondazione Pomona, 1947 Pencil, ink and bistre on paper 32 x 22.7 cm Pistoia, Fondazione 23. Nudi, 1940 China su carta 35,2 x 26,1 cm Pistoia, Fondazione Nudes, 1940 Indian ink on paper 35.2 x 26.1 cm Pistoia, Fondazione Stanza 4 Room 4 24. Pomona, 1940 171 x 67 x 58 cm Pistoia, Collezione Gori Pomona, 1940 171 x 67 x 58 cm Pistoia, Collezione Gori 25. Giovinetta, 1938 157 x 48 x 37 cm Comune di Pistoia Young Girl, 1938 157 x 48 x 37 cm Comune di Pistoia 4

MARINO MARINI. Passioni visive 26. Aristide Maillol Armonia (Harmonie), primo stato, 1940 44 155 x 45 x 37 cm Parigi, Fondation Dina Vierny- Musée Maillol Aristide Maillol Harmony (Harmonie), first state, 1940 44 155 x 45 x 37 cm Paris, Fondation Dina Vierny-Musée Maillol 27. Ernesto De Fiori Nudo femminile stante,1927 166 x 70 x 50 cm Düsseldorf, Museum Kunstplast Ernesto De Fiori Standing Female Nude, 1927 166 x 70 x 50 cm Düsseldorf, Museum Kunstpalast Stanza 5 Room 5 28. Nudo, 1947 79,6 x 26,9 x 18,2 cm Pistoia, Fondazione Nude, 1947 79.6 x 26.9 x 18.2 cm Pistoia, Fondazione 29. Germaine Richier Pomona (Pomone), 1945 78 x 26 x 24 cm Rennes, Musée des Beaux-Arts Germaine Richier Pomona (Pomone), 1945 78 x 26 x 24 cm Rennes, Musée des Beaux-Arts 30. Giocoliere, 1940 26 x 21 x 25,5 cm Pistoia, Fondazione Juggler, 1940 26 x 21 x 25.5 cm Pistoia, Fondazione 31. Auguste Rodin Giocoliere (Le Jongleur), 1892 95 circa 30 x 12,5 x 14,5 cm Parigi, Musée Rodin Auguste Rodin Juggler (Le Jongleur), ca. 1892 95 30 x 12.5 x 14.5 cm Paris, Musée Rodin 5

MARINO MARINI. Passioni visive 32. Giocoliere, 1940 66 x 41 x 75 cm Firenze, Museo Juggler, 1940 66 x 41 x 75 cm Florence, Museo 33. Auguste Rodin Torso femminile seduto (Torso Morhardt) (Torse féminin assis, [Torse Morhardt]),1895 circa 13,3 x 9,3 x 8,6 cm Parigi, Musée Rodin Auguste Rodin Torso of a Seated Woman (Torse Morhardt) (Torse féminin assis, [Torse Morhardt]), ca. 1895 13.8 x 9.3 x 8.6 cm Paris, Musée Rodin 34. Piccolo nudo, 1943 31,2 x 24 x 17,9 cm Pistoia, Fondazione Small Nude, 1943 31.2 x 24 x 17.9 cm Pistoia, Fondazione 35. Auguste Rodin La musa tragica (modello piccolo) La Muse tragique (petit modèle), 1893 94 31 x 52 x 54,5 cm Parigi, Musée Rodin Auguste Rodin The Tragic Muse (small model), 1893 94 31 x 52 x 54.5 cm Paris, Musée Rodin Stanza 6 Room 6 36. Arcangelo, 1943 Gesso policromo 72 x 40 x 37,5 cm Museo del Novecento, Milano Collezione Archangel, 1943 Polychrome plaster 72 x 40 x 37.5 cm Milan, Museo del Novecento, Collection 37. Susanna, 1943 74 x 27,5 x 45 cm Collezione privata Susanna, 1943 74 x 27.5 x 45 cm Private collection 6

MARINO MARINI. Passioni visive 38. Ritratto di Germaine Richier, 1945 58 x 43 x 30,5 cm Pistoia, Fondazione Portrait of Germaine Richier, 1945 58 x 43 x 30.5 cm Pistoia, Fondazione Stanza 7 Room 7 39. Arte etrusca Coperchio con presa plastica a forma di due cavalieri, da Pitigliano, 610 590 a.c Ceramica d impasto 20 x 20 cm Firenze, Museo Archeologico Nazionale 40. Piccolo cavallo, 1943 Terracotta policroma 22 x 39,7 x 10 cm Pistoia, Fondazione Etruscan art Cover with sculpted handles in the form of two riders, from Pitigliano, 610 590 BCE Clay ceramic, 20 x 20 cm Florence, Museo Archeologico Nazionale Small Rider, 1943 Polychrome terracotta 22 x 39.7 x 10 cm Pistoia, Fondazione 41. Piccolo cavaliere, 1942 circa Terracotta policroma 31,1 x 29,5 x 16,4 cm Pistoia, Fondazione Small Rider, ca. 1942 Polychrome terracotta 31.1 x 29.5 x 16,4 cm Pistoia, Fondazione 42. Piccolo cavallo, 1945 Terracotta policroma 27, 7 x 36,3 x 18,5 cm Pistoia, Fondazione Small Horse, 1945 Polychrome terracotta 27.7 x 36.3 x 18.5 cm Pistoia, Fondazione 43. Cavaliere, 1944 Ceramica 29,9 x 29,5 x 12 cm Pistoia, Fondazione Rider, 1944 Ceramic 29.9 x 29.5 x 12 cm Pistoia, Fondazione 44. Piccolo cavaliere, 1943 Terracotta invetriata 39,4 x 35 x 14 cm Firenze, Museo Small Rider, 1943 Glazed terracotta 39 x 35 x 14 cm Florence, Museo 7

MARINO MARINI. Passioni visive Stanza 8 e project rooms 45. Arte cinese Cavallo Ferghana, inizio dinastia Tang (618 907) Terracotta policroma 79,5 x 79 x 24 cm Collezione privata 46. Cavaliere, 1947 100, 05 x 67 x 49 cm Monaco di Baviera, Bayerischen Staatsgemäldesammlungen Pinakothek der Moderne Room 8 & Project Rooms Chinese art Ferghana Horse, early Tang Dynasty, (618 907) Polychrome terracotta 79.5 x 79 x 24 cm Private collection Rider, 1947 100.5 x 67 x 49 cm Munich, Bayerischen Staatsgemäldesammlungen, Pinakothek der Moderne 47. Cavallo, 1942 73,5 x 72,5 x 25,2 cm Pistoia, Fondazione Horse, 1942 73.5 x 72.5 x 25.2 cm Pistoia, Fondazione 48. Cavaliere, 1945 108 x 100 x 36 cm Collezione privata Rider, 1945 108 x 100 x 36 cm Private collection 49. Cavaliere, 1947 Gesso originale policromo 100 x 65 x 34 cm Collezione privata Rider, 1947 Original polychrome plaster 100 x 65 x 34 cm Private collection 50. Cavaliere, 1952 101, 5 x 88 x 76,5 cm Collezione privata Rider, 1952 101.5 x 88.5 x 76.5 cm Private collection 8

MARINO MARINI. Passioni visive 51. Cavaliere, 1947 97 x 65 x 37 cm Saint Vincent (Aosta), Collezione Masi Rider, 1947 97 x 65 x 37 cm Saint-Vincent (Aosta), Collezione Masi Stanza 9 Room 9 52. Giocoliere, 1944 policromo 88,4 x 37,8 x 67,2 cm Firenze, Museo Juggler, 1944 Polychrome bronze 88.4 x 37.8 x 67.2 cm Florence, Museo Stanza 10 Room 10 53. Ritratto di Mme Grandjean, 1945 Gesso policromo 35 x 24 x 17 cm Milano, Museo del Novecento Collezione Portrait of Mme Grandjean, 1945 Polychrome plaster 35 x 24 x 17 cm Milan, Museo del Novecento, Collection 54. Ritratto di Igor Stravinskij, seconda versione, 1951 33 x 21 x 20 cm Milano, Museo del Novecento Collezione Portrait of Igor Stravinsky, second version, 1951 33 x 21 x 20 cm Milan, Museo del Novecento, Collection 55. Ritratto di Carlo Cardazzo, 1947 Gesso policromo 31 x 18 x 24 cm Milano, Museo del Novecento Collezione Portrait of Carlo Cardazzo, 1947 Polychrome plaster 31 x 18 x 24 cm Milan, Museo del Novecento, Collection 9

MARINO MARINI. Passioni visive 56. Ritratto della signora Vitali, Pietra, 1937 38 50 x 22 x 26 cm Firenze, Musei Civici Fiorentini Portrait of America Vitali, 1937 38 Stone 50 x 22 x 26 cm Florence, Musei Civici Fiorentini 57. Ritratto di Filippo de Pisis, 1941 35 x 21 x 22 cm Milano, Museo del Novecento Collezione Portrait of Filippo de Pisis, 1941, 35 x 21 x 22 cm Milan, Museo del Novecento, Collection 58. Giacomo Manzú Ritratto di America Vitali 1938 39 65 x 38 x 56 cm Collezione privata Giacomo Manzù Portrait of America Vitali, 1938 39 65 x 38 x 56 cm Private collection 59. Ritratto di Christian Faerber, 1952 Gesso policromo 29 x 16,4 x 21,8 cm Pistoia, Fondazione Portrait of Christian Faerber, 1952 Polychrome plaster 29 x 16.4 x 21.8 cm Pistoia, Fondazione 60. Ritratto di Curt Valentin, prima versione, 1952 29 x 14,5 x 17,6 cm Pistoia, Fondazione Portrait of Curt Valentin, first version, 1952 29 x 14.5 x 17.6 cm Pistoia, Fondazione Stanza 11 Room 11 10

MARINO MARINI. Passioni visive 61. Miracolo-Composizione 1957 58 140 x 100,5 x 63,2 cm Pistoia, Fondazione Miracle-Composition, 1957 58 140 x 100.5 x 63.2 cm Pistoia, Fondazione 62. Guerriero, 1958 59 71 x 124 x 74 cm Courtesy Fondazione Arnaldo Pomodoro 63. Maestro senese del primo trecento Lupa con gemelli, primo quarto del XIV secolo Marmo 63 x 118 x 40 cm Siena, Opera della Metropolitana 64. Henry Moore Tre figure in piedi, 1953 73,2 x 68 x 29 cm (compresa la base) Venezia, Peggy Guggenheim Collection Warrior, 1958 59 71 x 124 x 74 cm Milan, Courtesy Fondazione Arnaldo Pomodoro Sienese sculptor The She-Wolf Suckling Romulus and Remus, early 14 th century Marble 63 x 118 x 40 cm Siena, Opera della Metropolitana Henry Moore Three Standing Figures, 1953 73.2 x 68 x 29 cm, including base Venice, Peggy Guggenheim Collection, 65. Pablo Picasso Donna e cane che giocano, fondo blu (Femme et chien jouant, fond bleu) 1953 Olio su tavola 81 x 100 cm Monte Carlo, Principato di Monaco, Collezione Nahmad 66. Arte etrusca Piccolo guerriero, V secolo a.c a cera persa h 29 cm Firenze, Museo Archeologico Nazionale Pablo Picasso Woman and Dog Playing, Blue Ground, 1953 Oil on panel 81 x 100 cm Monte Carlo, Principality of Monaco, Nahmad Collection Etruscan art Small Warrior, 5 th century BCE Lost-wax bronze cast h 29 cm Florence, Museo Archeologico 11

MARINO MARINI. Passioni visive 67. Arte etrusca Piccolo guerriero, V secolo a.c a cera persa h 26 cm Firenze, Museo Archeologico Nazionale Etruscan art Small Warrior, 5 th century BCE Lost-wax bronze cast h 26 cm Florence, Museo Archeologico 68. Piccolo giocoliere, 1953 policromo 46,8 x 17 x 8 cm Milano, Museo del Novecento Collezione Small Juggler, 1953 Polychrome bronze 46.8 x 17 x 8 cm Milan, Museo del Novecento, Collection 69. Piccolo giocoliere, 1953 policromo 46,1 x 14,6 x 7,8 cm Milano, Museo del Novecento Collezione Small Juggler, 1953 Polychrome bronze 46.1 x 14.6 x 7.8 cm Milan, Museo del Novecento, Collection 70. Giocolieri, 1953 policromo 51 x 14,5 x 11,8 cm Milano, Museo del Novecento Collezione Jugglers, 1953 Polychrome bronze 51 x 14.5 x 11.8 cm Milan, Museo del Novecento, Collection 71. Giocolieri, 1953 policromo 51 x 26 x 14 cm Museo del Novecento, Milano Collezione Jugglers, 1953 Polychrome bronze 51 x 26 x 14 cm Milan, Museo del Novecento, Collection 72. Piccolo giocoliere, 1953 policromo 45,4 x 30 x 12 cm Milano, Museo del Novecento Collezione Small Juggler, 1953 Polychrome bronze 45.4 x 30 x 12 cm Milan, Museo del Novecento, Collection 12

MARINO MARINI. Passioni visive 73. Piccolo giocoliere, 1956 48,5 x 25 x 12,5 cm Milano, Museo del Novecento Collezione Small Juggler, 1956 48.5 x 25 x 12.5 cm Milan, Museo del Novecento, Collection 74. Studio per Miracolo 1953 54 65 x 102 x 35 cm Collezione privata 75. Studio per Miracolo 1953 54 63 x 50 x 107,5 Collezione privata Study for Miracle 1953 54 65 x 102 x 35 cm Private collection Study for Miracle 1953 54 63 x 50 x 107.5 cm Private collection 13

MARINO MARINI 1901 Marini Marini is born on 27 February in Pistoia. 1917 He enrolls at the Accademia di Belle Arti in Florence, where he attends the course in Drawing and Painting and then the Special Course in Sculpture, under Domenico Trentacoste, from 1922. 1950 From February to March he visits for the first time the United States, where Curt Valentin organizes his first American solo show at the Buchholz Gallery in New York, marking the start of his international success. He makes the first version of his Portrait of Igor Stravinsky. Edgar J. Kaufmann, owner of Frank Lloyd Wright s Falling Water, purchases a version of The Angel of the City. 1928 He exhibits for the first time at the Venice Biennale. 1929 He leaves Florence for Milan and visits Paris for the first time, where he presents People in a group show at the Galerie Bonaparte. He sends The Priest in wax to the exhibition of the Novecento Italiano in Milan. 1930 He succeeds Arturo Martini as chair of sculpture at the Istituto Superiore delle Arti Applicate in Monza. He travels again to Paris and then to London. He exhibits four sculptures at the Venice Biennale: the Galleria Nazionale d Arte Moderna in Rome purchases his Sleeping Woman. 1951 He exhibits for the first time in England, at Erica Brausen s Hanover Gallery and at the Open Air Sculpture Exhibition in Battersea Park. 1952 He wins the Grand Prix for Sculpture at the Venice Biennale, where he is present with a solo show: the controversy that arises around his work led the Comune of Milan to decide against the purchase of The Large Horse, which is bought instead by the Museum of Stockholm. This opens up new exhibition opportunities in Göteborg, Copenhagen and Oslo, where he holds solo shows the following year. He exhibits with Henry Moore and Wotruba at the Galerie Welz in Salzburg. 1931 He wins third prize for sculpture at the first Quadriennale in Rome. He visits Paris again. 1953 He purchases land at Forte dei Marmi, where La Germinaia, which was to become his favorite residence, was later built. 1932 He holds two solo shows, in Milan and in Rome, and takes part in the Mostra degli Italiani a Parigi at the Venice Biennale. The Galleria d Arte Moderna in Milan purchases a Bather. 1933 He executes a relief for Scalone d Onore of the fifth Triennale in Milan and another for the Mostra della Rivoluzione Fascista in Rome. 1934 He visits the Cathedral of Bamberg in Germany where he admires the equestrian statue of Henry II in stone, the Bamberg Rider, which he later declares will be one of the sources for his Riders. 1935 He wins first prize for sculpture (100,000 lire) at the second Quadriennale in Rome. The Galleria d Arte Moderna of Turin purchases a Boxer in bronze. 1936 He takes part in the twentieth Venice Biennale: the principal work he exhibits, a Rider in plaster, is severely criticized for its excessively archaic and primitive style. 1937 He takes part in the Exposition Universelle in Paris at which he wins the Grand Prix for Sculpture with a Boxer in wood that enters the collections of the French State. 1938 He marries Mercedes Pedrazzini on 14 December. 1939 In December he holds an important solo exhibition at the Galleria Barbaroux in Milan where, along with a large number of portraits, he again presents his Rider in plaster, previously shown at the 1936 Venice Biennale, as well as The Pilgrim, a new, large-scale Rider. Italy s more discriminating art collectors become interested in his work. 1954 The Accademia Nazionale dei Lincei awards Marini the International Feltrinelli Prize for Sculpture. Curt Valentin dies at La Germinaia. Pierre Matisse becomes his New York dealer. 1955 He receives from The Hague the commission for a monument to be placed in a new quarter of the city, which would be inaugurated in 1959. At the time of his solo exhibition at the Boijmans van Beuningen Museum in Rotterdam, the city purchases a version of the Large Miracle of 1952 for a monument to the victims of Nazism. 1958 Brausen includes his work in a group show at the Hanover Gallery, London, with Giacometti, Henri Matisse and Moore. The modern museum in Munich purchases a Large Miracle for its collections. Palma Bucarelli dedicates a room to him in the newly installed Galleria Nazionale d Arte Contemporanea in the Valle Giulia in Rome. 1960 The Germanisches Nationalmuseum in Nuremberg purchases a Large Warrior. The Kunsthaus Zurich dedicates an important retrospective show to him. 1962 He executes a portrait of Moore at La Germinaia. Siegfried Rosengart, the Swiss art dealer, commissions him to travel to St Paul-de-Vence to make a portrait of Marc Chagall, which is declined as it was considered offensively caricatural. He takes part in the exhibition Sculture nella città, organized in Spoleto for the Festival of Two Worlds. 1963 The Galleria Toninelli in Milan organizes his first solo show of paintings. He exhibits at the Kunsthalle Basel with Alexander Calder and Jean Arp. He makes a portrait of Arp in the same year. 1940 He exhibits his work again at the Venice Biennale: his Bacchus in stone would be purchased soon after by the Kunsthaus Zurich. He makes the Pomona with her arms behind her back, the plaster of which is purchased by Emilio Jesi. 1941 In February he is named per chiara fama professor of sculpture at the Accademia Albertina in Turin. In June he transfers to the Accademia di Brera, Milan. 1942 In December, after bombing in Milan causes the loss of many of his works, he goes to live with his wife in Tenero, near Locarno, Switzerland. 1943 He frequents sculptors Alberto Giacometti, Fritz Wotruba, Germaine Richier and Hermann Haller. 1944 The work he carries out in the two years 1943-1944 become the content of a monograph with an introduction by the philologist Gianfranco Contini. In October he takes part in an exhibition with Arnold D Altri, Richier and Wotruba at the Kunstmuseum Basel: Swiss critics include him among the exponents of international sculptural expressionism. 1945 The exhibition of the four sculptors travels to the Kunsthalle Bern. Marini holds solo shows in Basel and Zurich of the works made in his years in Switzerland. He initiates a series of medium-sized Riders, destined for international success. 1966 His first retrospective exhibition in Italy takes place in the Palazzo Venezia in Rome. 1967 He is commissioned to make a portrait of Mies van der Rohe, which requires him to travel to Berlin, where the architect is working on his project for the Nationalgalerie. 1972 A large exhibition of portraits titled Personaggi del XX secolo takes place at the Centro Studi Piero della Francesca in Milan. On this occasion he is given the honorary citizenship of the city. He donates a large number of works that are installed as the Museo in the Galleria Comunale d Arte Moderna of Milan. At the request of Paolo Grassi, Superintendent of the Teatro La Scala, he designs sets and costumes for the Rite of Spring by Stravinsky. 1973 Gianni Agnelli purchases the Miracle in stone of 1970 and donates it to the Vatican for its Museo d Arte Contemporanea. The Rider in wood of 1936 from the Battiato collection is donated to the same museum. 1974 A version of the mutilated Pomona of 1940 is placed in the Sala dei Buontalenti of the Galleria degli Uffizi on 29 April, at the behest of Luciano Berti, Director, and with the support of Nello Bemporad, Superintendent, and Luciano Bausi, Mayor of Florence. 1976 The Staatsgalerie Moderner Kunst in Munich dedicates a permanent room of sculpture and paintings to Marini. 1946 He returns to Milan in the spring, and lives in a house in Piazza Mirabello, where he also has his studio. He starts teaching again at the Accademia di Brera. 1978 A traveling exhibition of sculpture and paintings is organized in museums in Japan. Marini donates a Rider in bronze to the Musée d Art Moderne in Paris. 1948 He takes part in the Venice Biennale, with a solo room of his work, and is a member of the Commission for Figurative Art. He meets the American gallerist Curt Valentin, who includes his work in a group exhibition, Modern International Sculpture, at the Buchholz Gallery in New York in September. 1949 He takes part in the exhibition XXth Century Italian Art organized at the Museum of Modern Art in New York by Luigi Toninelli. He meets Peggy Guggenheim, who purchases a Rider in plaster and has it cast in bronze before placing it, with the title The Angel of the City, in her Ca Venier dei Leoni house-museum in Venice. 1979 The Centro di Documentazione of the work of is inaugurated in Pistoia. 1980 The donation that enables the founding of the Museo Marino Marini in Florence is confirmed in the spring, a few months before Marini s death in August. 1983 The Fondazione is established in Pistoia. 1988 The Museo is inaugurated in the former Church of San Pancrazio in Florence.

Public Programs On Marino Marino In conjunction with the exhibition. Visual Passions, the Peggy Guggenheim Collection will offer a series of free collateral activities for adults and children. These will take place either in the galleries of the museum or outside Palazzo Venier dei Leoni. The educational programs of the Peggy Guggenheim Collection are supported by Fondazione Araldi Guinetti, Vaduz. Please save the date of March 20, at 6pm. In the Auditorium Santa Margherita of the University of Ca Foscari, exhibition curators Flavio Fergonzi and Barbara Cinelli will discuss on Horses and Riders: Equestrian Monuments with the artist Mimmo Paladino. The debate will look into the evolution of equestrian monuments through the ages, from Old Masters to the contemporary. Horses and riders are among Marini s recurrent themes, while Paladino whose Cloven Viscount (Il visconte dimezzato, 1998) is exhibited at the Peggy Guggenheim Collection often elaborated on the theme of the horse. The meeting is in collaboration with the University of Ca Foscari. From February to April, in the exhibition galleries at the Peggy Guggenheim Collection, PhD students from the Scuola Normale Superiore, Pisa, will discuss Marini and his work on four separate dates. They will offer an in-depth analysis and an original point of view on some of the works. Meetings will take place twice a day. Participation is free upon purchase of the entrance ticket to the museum. These meetings will implement the regular calendar of free presentations of the museum that are offered to the public daily at 3:30pm. On Saturday, April 14, the museum will hold activities for anyone passionate about drawing. Drawing Marino will offer the opportunity to draw from life the sculptures on show. Visitors will receive paper and pencils to let their creative energies loose and take inspiration from Marini s works. Doppio Senso, the program of tactile visits and workshops offered by Peggy Guggenheim Collection to blind or visually impaired visitors, will focus on a work on show. On Saturday, April 21 for children, and on Sunday April 22 for adults, a tactile visit with Valeria Bottalico will be followed by a workshop with the artist Felice Tagliaferri, who will help recreate the work discussed during the visit. Our youngest public will also be involved in the exhibition on Marini with a series of Kids Days, free educational workshops for children between 4 and 10 years. The first workshop will be held on Sunday, January 28, on Marini's Jugglers. Advance booking required, by calling on the Friday before the event. Palazzo Venier dei Leoni Dorsoduro 701 30123 Venezia (39) 041 2405 415 guggenheim-venice.it

LAVAZZA SPONSORS THE VISUAL PASSIONS OF MARINO MARINI AT THE PEGGY GUGGENHEIM COLLECTION A REMARKABLE RETROSPECTIVE DEDICATED TO THE ARTIST FROM PISTOIA, ITALY The exhibition. Visual Passions, officially opened at the museum in Venice with the support of Lavazza Lavazza, in its capacity as Institutional Patron of the Peggy Guggenheim Collection in Venice, is pleased to lend its support to the exhibition. Visual Passions, confirming the company s ongoing commitment to promoting art and culture worldwide. The retrospective is the second stage in an unprecedented project in the art world that strengthens Lavazza s ties with the Peggy Guggenheim Collection and gives the company the chance to make an important contribution to our cultural understanding of twentieth century Italy. The aim of the exhibition is to put the artist from Pistoia into his context in the history of sculpture, as well as to apply a critically innovative approach to all the stages in Marini s art, from the 1920s to the 1950s. It is an honor to be able to support the incredible heritage of the Peggy Guggenheim Collection in Venice, an iconic institution that has been working for years to promote revolutionary and innovative personalities in the world of art, said Francesca Lavazza, a Board Director of the company and, since 2016, a member of the Board of Trustees of the Solomon R. Guggenheim Foundation. The exhibition, as well as being the first retrospective dedicated in its entirety to, is also the first project that gives us the opportunity to work with Karole P.B. Vail, the newly-appointed director of the museum in Venice and Peggy Guggenheim s granddaughter, a woman deeply loved for her spirit and her work in the art world. With Karole, we want to contribution to giving the museum an even more powerful image and to keeping the legacy of its founder and her innovative vision alive. After the success of the first exhibition sponsored by Lavazza with the Peggy Guggenheim Collection, Mark Tobey: Threading Light (May 6-September 10, 2017) dedicated to the American painter, the retrospective of work by forms part of a broader project to promote Venice and the heritage of contemporary art. The bond between Lavazza and Venice was also strengthened by the partnership established in 2015 with the Civic Museums of Venice, which oversees and manages some of Venice s top museums. LAVAZZA and its commitment to promoting art and culture Lavazza has a long history of promoting the arts and culture. From its first steps taken with revolutionary campaigns created by the undisputed Italian advertising genius Armando Testa, through to the celebration of artistic creativity represented by the Lavazza Calendar, the company has always been a pioneer in the visual arts. From photography and design to fine advertising graphics, today Lavazza is a partner of leading international art museums. These include: the Guggenheim Museum in New York (USA), the Peggy Guggenheim Collection (Venice), the Musei Civici Veneziani in Venice (Italy), and the State Hermitage Museum in Saint Petersburg (Russia). Lavazza also offers its support to the MUDEC (Museum of Cultures) in Milan, the Merz Foundation, Camera (the Italian Center for Photography) and Circolo dei Lettori in Turin and to top international art and photography events worldwide, including the Mia Photo Fair in Milan and exhibitions by Steve McCurry, the author of the Tierra! series of photographs shot in Honduras, Peru, Colombia, India, Brazil, Tanzania, Ethiopia and Vietnam, taking us on a journey to discover coffee trading routes and communicating all the passion and commitment that the Lavazza Foundation invests in coffee-producing communities. Lavazza Bianca Genitori 340.1826579 bianca.genitori@lavazza.com