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from his earliest attempts in engraving, dated to the beginning of the 1920s, marino marini showed that he was not easily swayed by the aesthetic overtones that were popping up around him; these images testify that he was not least influenced by the echoes of the futurist and cubist movements that, in florence, had and retained a discreet audience of supporters. on the other hand, these early works show a certain inspiration of secessionist ascendancy, with the inclination to emphasize the form, giving it relief and plasticity. from the 1950s, in conjunction with his resumption of painting, marino introduced colors in his drawings, and in particular in lithographs. around the theme of the knight also revolves around the graphic artist’s work, which however resumes, renews and refines all the other images of his repertoire: the pomone, acrobats, jugglers, dancers, circus and theater characters, and still other horses and riders. along with the logical consequence of a tragic view that seems to live in marini and in his vitality, is an imperative feeling of trust; of that which until the end, up until the threshold of his death, there is a splendid and stinging theory of drawings, engravings and lithographs, stretching until 1980.