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Purchase Oil Painting Replica Horse by Arturo Martini (1889-1947) | ArtsDot.com

Horse

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This sculpture of cast terracotta painted light blue entered the Cariplo Collection in 1975 with the other works of the Caterina Marcenaro Bequest. While abrasion of the pedestal makes it impossible to decipher the trademark, the work was probably produced together with others by the Fenice factory in Albisola in 1926. The history of its ownership cannot be traced with any certainty due to the lack of documentation prior to 1976. The catalogue raisonné of the artist’s sculptures lists a work in terracotta (in the Basile Collection in 1998) and the bibliography mentions at least two more, one in terracotta at the Galleria La Bussola, Turin, in 1966 and the other in pottery in a private collection. This piece was produced within the framework of Arturo Martini’s work for the show held at the Galleria Pesaro, Milan, in 1927. While it is not actually mentioned in the catalogue, the colouring of the sculptures exhibited is described by Mario Labò as drawn from the blue and white of the old ceramics of Savona. The artist had worked with this material ever since his youth, when he was employed at the Gregorj factory in Treviso. In the period after World War I, during his association with the journal Valori Plastici, in-depth study of Italian 15th-century art, Etruscan sculpture and Roman statues led him to the simplification of elements and composition. In the second half of the 1920s, in contact with Margherita Sarfatti and the Novecento Italiano movement, he began to regard the primitivist purification of forms as a constraint. Horse thus represents the result of painstaking efforts to attain greater expressiveness in sculpture through the use of freer forms.
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Arturo Martini

Arturo Martini was a leading Italian sculptor between World War I and II. He moved between a very vigorous (almost ancient Roman) classicism and modernism. He was associated with public sculpture in fascist Italy, but later renounced his medium altogether.
Martini seems to have been an active supporter of the Futurist movement between 1914 and 1918. He certainly corresponded with Umberto Boccioni and produced a modernist booklet in 1918. His early works show an archaic tendency, two-dimensionality and polychrome effects
His later works returned to a more traditional style, but with "irony, agility and an eclectic capacity to combine or reinterpret sources". Between the wars, he became the semi-official sculptor of the fascist regime. He was literally overwhelmed by commitments: great monuments and commemorative works for courthouses, churches and universities. Examples include the great bronze at La Sapienza University in Rome and the memorial to the aviator Tito Minniti. He sculpted the monument to the Fallen at the Palazzo delle Poste, Naples.
After the fall of Mussolini, feeling that his art had been corrupted, he published an essay against sculpture in the magazine La Martini in 1945: "scultura, lingua morta" (sculpture, a dead language). He writes for example: "La scultura un'arte è da negri e senza pace" (sculpture is a black and unquiet art).
Despite this attack on his own métier, he created one significant work after the war, a marble sculpture in a tribute to the guerrilla leader Primo Visentin, known as "Masaccio", who had been killed at the end of the war in Loria (Padua) in unexplained circumstances.
Martini is as important Italian sculptor in the period between the world wars. He worked with many materials (clay, wood, plaster, stone, especially marble, bronze, silver) but never moved far from figuration, although he was able to model abstract forms, as his atmosfera di una testa (vibrations of a head) of 1944 testifies. He exercised great influence on later Italian sculptors such as Marino Marini, Emilio Greco, Marcello Mascherini (it), Pericle Fazzini, and his student Fiore de Henriquez.
Judith and Holferenes, Kröller-Müller Museum
Media related to Arturo Martini at Wikimedia Commons

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