Whenever I am in Milan I go to see the portraits of Marino Marini. He is most famous for his sculptures of horses and men on horses, but I am totally addicted to his portraits.

Now they are to be found in the museum of 900, which I find a pity. They used to have their own space (see the black and white photos). It was designed by Arturo Bassi (could not information about him on the net, who can help me out?).

Click on the grey museum of 900 and you will find information about the museum.

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There was never anybody there. When I’d visit a guard used to follow me through the rooms. Like that he made his round accompanied by someone else.

And for years I had fantasies stealing some of the portraits. I even talked about it with a sculptor...

The space where they are now is very, horribly poorly lit, look at the portrait of Henry Moore. How to kill a sculpture… Even the sculpture behind him seems to have a headache… And then the way they are spread all over the space... Could it have been done more tasteless?

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Let’s leave the museum the museum and look at the works.

Besides being art of today, MM's work is deeply rooted in the Etruscan art tradition. He was very concious of where he was born and grown up.

Years ago I fell in love with (this portrait of) the Etruscan Hera-Juno of Falerii.

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It is the simplicity of these sculptures that strikes me. Much of the Etruscan art has nothing to do with the over the top Hellinistic decadence. (It reminds me of why Rembrandt was not popular at the end of his life. The art buyers wanted ‘refined’ stuff. Rich societies often prefer decadent and over the top art). Etruscan art is nothing like that. No pompous detailing, no dramatic poses.

Here are some examples with two sculptures of MM (in color) in between them. Just to show my point. They fit in very well.

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Another aspect of MM’s work that helps me while making my paintings is the balance he found between the finished and unfinished. You have the feeling ‘Marino has just left the building’. He played with the material, lets it talk in its proper language. And it leaves space for the spectator 'to fill in the rest', thus making it more one's own.

The ultimate example is the portrait of Mies van der Rohe.

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It may seem that he did not go for exquisite little detailing, but then have a look at the twinkle in the eye of De Pisis. Unfortunately it gets lost in the new place where it is exposed. I have to do it with the memory.

How to explain the greatness of these portraits? In the end words cannot explain. But if ever you are in Milano, go to see them!

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The video below is a compilage of several of his portraits. Amongst them: Igor Stravinsky, Marc Chagall, Mies van der Rohe, Filippo de Pisis, Carlo Carrà and Henry Miller. Enjoy!