Marino Marini's modern sculptures and paintings challenged and tried to deconstruct strict anatomical figures and engaged in an interrogation of the absurd and the exaggerated.
Critics note that hiss work is a contradiction; that is, it is both abstract and historicist. The base of Marini’s style takes inspiration from the classic Roman, Etruscan, and early Renaissance works.
1. Gargantua (1831)
Marini himself notices the purpose served by these equestrian statues, saying that throughout the centuries they imbue an epic purpose, exalting triumphant heroes.
The neck of the horse becomes indistinct from its head, and directly within the line of sight is the phallus of the horse rider, who has his arms spread apart, looking at the sky.
1. L'angelo della città (1948)
In this modern sculpture, both the horse and the rider have exaggerated & elongated forms, they are slouched down in opposite directions, blending with the ground and lacking distinctive heads.