Picture "Horse and Rider", framed
Picture "Horse and Rider", framed
Quick info
limited, 300 copies | Original Dietz replica | tempera on cardboard, laminated | framed | size approx. 84 x 65 cm (h/w)
Detailed description
Picture "Horse and Rider", framed
Original: Kunsthalle Hamburg.
Original Dietz replica in 70 colours. Tempera on cardboard, laminated on plate. Limited edition of 300 copies. Framed. Size approx. 84 x 65 cm (h/w).
About Marino Marini
1901-1980
The subject "horse and rider" appears repeatedly in the oeuvre of Marino Marini, who was one of the most important sculptors of Classical Modernism. The artist justified his choice of motifs by the fact that his studio in Monza, where he lived in the 1930s, was located next to a horse stable.
Whereas the studies he made in the 1930s were realistic and anatomical drawings, his sculptures and colour-intensive lithographs produced in the 1960s/70s were subject to his ever-increasing pessimism. "My equestrian statues express the torment caused by the events of this century. The restlessness of my horse grows with each new work, the rider appears increasingly worn out, he has lost his dominance over the beast and the catastrophes to which he succumbs are similar to those which destroyed Sodom and Pompeii." This also explains why the Italian artist's formal style is characterised by a tension between abstraction and figuration.
He began studying at the Academy of Fine Arts in Florence at the age of 16. When he was 28 years old, he succeeded as a professor of sculpture at the Scuola d’Arte di Villa Reale in Monza. In 1932, his great success began with his participation in the Venice Biennale. At the end of the 1940s, he achieved his international breakthrough with his famous equestrian figures.
His best-known work is probably a figure riding a horse on the terrace of the Peggy Guggenheim Collection in the Palazzo Venier dei Leoni directly along the Grand Canal in Venice. A famous story is how the former owner, Peggy Guggenheim, asked the artist to put mounting equipment on the riding figure so that it could be removed on holidays when the nuns of St. Maria della Salute passed by the palazzo in their boat.
He received many awards for his work, including the prize at the 1936 Rome Quadrennial and the Grand Prize for Sculpture at the 1952 Venice Biennale. His extensive graphic work is also represented in the world's major museums. The Marino Marini Museum, opened in Milan in 1973, pays tribute to his great life's work.
Günter Dietz developed a revolutionary method for the authentic reproduction of paintings, where not the usual printing inks are used, but the same original colours used by the artist. Depending on the artist's painting technique, up to 140 (!), different paint applications need to be applied in order to achieve a perfect replica of the original that also tangibly reproduces the "relief" and pastosity of colour composition.
Here are the examples of 'Couple at the Garden Table' by August Macke:
Furthermore, the same material as the original, such as reproduction on canvas, paper, wood, copper, parchment is always used.
The result is a perfect, gridless reproduction that comes very close to the original in expressiveness and effect. Even museum specialists often can not distinguish the replica from the original. Therefore, a special security note must be added, which is visible only under X-rays.
The edition of most Dietz replicas is limited, usually to 950 copies. Each canvas replica is stretched onto a frame as the original, so you can retighten the canvas in case of fluctuations in room temperature and humidity. A high-quality solid wood strips round off every Dietz replica.
Numerous masterpiece paintings of Rembrandt, Caspar David Friedrich, Claude Monet, Gustav Klimt and various others have been recreated by the "Dietz Offizin". Famous modern artists such as Pablo Picasso, Salvador Dalí, Max Ernst, Friedensreich Hundertwasser, Joan Miró and Marc Chagall have used this method developed by Günter Dietz in order to have replicas of their works produced.
Press comments:
"The Dietz System provides images as good as the originals. What the electronics did with the invention of Hi-Fi and stereo for music playback - here the graphic technology made up for visual art." (Die Zeit, German newspaper)
"In theory, there is no difference between the original and the Dietz replica. They should not be called reproductions, but facsimiles." (Newsweek, US-American news magazine)
"For art printers all over the world remains unrealizable to this day, what Dietz only managed with the help of printing technology: The perfect reproduction of painted works." (Der Spiegel, German news magazine)
Collective term for the painters and sculptors of the 20th century, such as Pablo Picasso, Salvador Dalí, Joan Miró, Marc Chagall and others, whose works are the most recognized in our times.
A true-to-the-original reproduction of an artwork in the same size and with the best possible material and colour uniformity.
The mould is usually taken directly from the original so that the replication reproduces even the finest details. After casting the replication, using the most appropriate method, the surface is polished, patinated, gilded or painted according to the original.
A replication of ars mundi is a recognizable copy of the original.