Museum Layout

Within the museum, “paths” were conceived and created in order to better read and understand the works of Marino Marini, paying particular attention to the exaggerated three-dimensionality of the Pistoian artist. The ability to circle the sculptures and explore around them is exceptional. The work can be viewed from an ever-changing perspective, sometimes unusual, with projections from different levels, and at different angles. The monumental ground floor of the museum presents Marini’s unambiguous figurative poem in a grandiose way: the metaphor of the knight as the tale of a man who loses his faith in reason and self-control. Also present in the main hall, the countersong of the pomone “controcanto delle pomone,” are works of monumental dimension according to another of Marini’s figurative themes often woven together with that of the knight. The mezzanine in the museum has the quality of a reflective pause, an intimate island, which accents a less epic and polyphonic Marino, but perhaps a more intriguing one. In this area of the museum, works of varied subject matter are preserved, including a series of smaller sculptures, of which a small group represents Marino Marini’s work as a portraitist. The common thread that binds and guides the presentation of the works on the upper floor is their theatrical staging. The space assumes an expanded and powerful stature and the context of the works in relationship to Marino Marini’s themes is purposefully accentuated. The ballerinas and dancers of the 1950’s have been placed here. Representing states between dull anguish and all-encompassing possession, they are the extreme evolution of the formal path through the museum.

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