Publication: Los jinetes de Marino Marini: herencias y transformaciones iconográficas
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2023-01-20
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Universidad Complutense de Madrid
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Abstract
Marino Marini (Pistoia 1901-Viareggio 1980) desarrolló una fructífera carrera escultórica en la que el motivo iconográfico del jinete se impuso como resultado de una búsqueda formal aunando en sí mismo la tradición y la modernidad. El artista recuperó un modelo de la tradición estatuaria tradicional y le otorgó nuevos y evocadores significados como testigo de su tiempo. Este estudio se centrará en el análisis de la figura del jinete en la obra de Marino Marini reflexionando sobre sus herencias iconográficas y el origen de estas con el propósito de comprender en profundidad el pilar de la obra del escultor toscano. Creemos que el interés fundamental de esta tesis está precisamente en las herencias histórico-artísticas de los jinetes de Marino y en las obras que derivarán de ellos. Los primeros pasos de este estudio se dirigirán a la comprensión del ambiente histórico-artístico en el que vivió Marini sus primeros años entre las ciudades de Pistoia y Florencia analizando las posibles influencias etrusco-egipcias de su obra más temprana y los mitos que fueron dando forma a la concepción de sus primeros jinetes. Uno de los primeros interrogantes al abordar esta investigación es el verdadero origen de la idea del jinete en la trayectoria escultórica del artista. Se tratará de dilucidar si las raíces de esta idea se encuentran en los modelos ecuestres de la tradición escultórica toscana o si fue su determinante visita a la Catedral de Bamberg a principios de la década de los años treinta el detonante de la creación de sus primeros jinetes...
Marino Marini (Pistoia 1901-Viareggio 1980) developed a fruitful artistic career in which the iconographic motif of the horseman prevailed due to a thorough formal search for shape, combining tradition and modernity. The artist recovered a model from the statuary tradition and gave to it new and evocative meanings as a faithful witness of his time. The aim of this study is to focus on the analysis of the horseman’s shape within the work of Marino Marini, reflecting on his iconographic heritage and on its origin, with the purpose of understanding in depth the pillar of the Tuscan sculptor’s work. We believe that the fundamental concern of this thesis lies precisely on the historical-artistic legacies of Marini's horsemen and in the works that will derive from them. The first steps of the present study will be aimed at understanding the historical-artistic environment in which Marini lived his early years between the cities of Pistoia and Florence, analyzing the possible Etruscan-Egyptian influences in his earliest work and the myths that were shaping the conception of his first riders. One of the first questions when addressing this research is the real origin of the horseman's idea within the artist's sculptural career. Therefore, we have try to elucidate if the roots of this idea could be found in the equestrian models of the Tuscan sculptural tradition or if the trigger for the creation of his first horsemen had been due to his crucial visit to Bamberg Cathedral in the early 30’s...
Marino Marini (Pistoia 1901-Viareggio 1980) developed a fruitful artistic career in which the iconographic motif of the horseman prevailed due to a thorough formal search for shape, combining tradition and modernity. The artist recovered a model from the statuary tradition and gave to it new and evocative meanings as a faithful witness of his time. The aim of this study is to focus on the analysis of the horseman’s shape within the work of Marino Marini, reflecting on his iconographic heritage and on its origin, with the purpose of understanding in depth the pillar of the Tuscan sculptor’s work. We believe that the fundamental concern of this thesis lies precisely on the historical-artistic legacies of Marini's horsemen and in the works that will derive from them. The first steps of the present study will be aimed at understanding the historical-artistic environment in which Marini lived his early years between the cities of Pistoia and Florence, analyzing the possible Etruscan-Egyptian influences in his earliest work and the myths that were shaping the conception of his first riders. One of the first questions when addressing this research is the real origin of the horseman's idea within the artist's sculptural career. Therefore, we have try to elucidate if the roots of this idea could be found in the equestrian models of the Tuscan sculptural tradition or if the trigger for the creation of his first horsemen had been due to his crucial visit to Bamberg Cathedral in the early 30’s...
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Tesis inédita de la Universidad Complutense de Madrid, Facultad de Geografía e Historia, leída el 10/06/2022