New York: Frederick A. Praeger, (1961). Limited First American edition. Hardcover. 1/60. Large quarto. XXIII, , 146pp. Original photo-illustrated dust-jacket over illustrated black cloth, with white lettering on spine. Original lithograph frontispiece by Marino Marini, signed by him in pencil on lower left margin. Eduard Trier, one of the foremost international experts on the art of sculpture, traces the evolution on the work of Marino Marini (1901-1980) from some sketches done in the early 1930s to his most mature statues and demonstrates his essential unity of style and purpose. The unity and the immense power of Marini's sculpture is clearly shown in Helmut Lederer's magnificent photographs which represent all the most important aspects of Marini's work and constitutes the core of this extremely valuable study. Translated from the German by Michael Bullock. Includes list of illustrations, biographical outline and selected bibliography. One of 60 copies with an original signed lithograph, of which this is No. 40. Dust-jacket with tiny chipping at head of spine and lower front corner. Price clipped on front flap. Two tiny dents on lower margin of binding. Minor age toning to outer edges of interior pages. Dust jacket in overall good, binding in good+, interior in good+ to very good, original lithograph and plates in very good condition. g. Item #21795
* Marino Marini (1901-1980) was one of the most celebrated Italian sculptors of the 20th century. He attended the Accademia di Belle Arti in Florence in 1917. Although he never abandoned painting, Marini devoted himself primarily to sculpture from about 1922. From this time his work was influenced by Etruscan art and the sculpture of Arturo Martini. Marini succeeded Martini as professor at the Scuola d’Arte di Villa Reale in Monza, near Milan, in 1929, a position he retained until 1940. During this period, Marini traveled frequently to Paris, where he associated with Massimo Campigli, Giorgio de Chirico, Alberto Magnelli, and Filippo Tibertelli de Pisis. In 1936 he moved to Tenero-Locarno, in Ticino Canton, Switzerland; during the following few years the artist often visited Zürich and Basel, where he became a friend of Alberto Giacometti, Germaine Richier, and Fritz Wotruba. In 1936, he received the Prize of the Quadriennale of Rome. In 1938, he married Mercedes Pedrazzini. He accepted a professorship in sculpture at the Accademia di Belle Arti di Brera, Milan, in 1940. In 1943, he went into exile in Switzerland, exhibiting in Basel, Bern, and Zurich. In 1946, the artist settled permanently in Milan.