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as it is well known, marino marini’s first stage in his formal and technical experience was in painting, only after his transfer to lombardy did sculpting take over and bring him universal fame. the suggestive works of his youth, related to his developmental years in Tuscany, are collected in a small room on the right side of the entrance to the museum. these are small-size wooden panels, consisting of oil on plywood; and therefore, unfortunately, they are extremely fragile. They document his adolescent susceptibility to the suggestions of primordial spells – piero della francesca and masaccio as austere mentors of innovation and sobriety – but also the avid curiosity towards the novelties of the end of the nineteenth century, according to all but local or provincial references. despite the fact that the artist’s next choice is to create works that are mainly sculptural, his pictorial experiences will continue to inspire and succeed in marino marini’s work. his painting tells, with the moral clarity and wonderful descriptive truth of a genius, of the great existential adventure of man. drawings, paintings, sculpture and portraiture live in perfect harmony in marini’s art, but also in his symbiotic dynamics and impulse. the colors, his rich and magical palette, are completely invented; colors born only from the fantasy of marino and perhaps which never existed before.