Taking a cue from the interesting exhibition, finally reopened at the Museo Novecento in Florence, which recalls Henry Moore's relationship with Tuscany, in particular with reference to the great exhibition at Forte Belvedere in 1975, which consecrated the international importance of the English artist, we like to recall how the close bond between two of the most important sculptors of the twentieth century was strengthened precisely in that period: Henry Moore and Marino Marini.

The two artists, almost the same age, who embarked on their artistic careers between the 1920s and 1930s, met in those years precisely in Versilia, which at that time represented a particularly stimulating and culturally lively environment, capable of attracting artists and intellectuals from all over the world, especially sculptors who found the best sculptural production workshops there.

The two artists met and esteemed each other and Moore, who was one of the most welcome guests of the Marini villa in Forte dei Marmi, was portrayed by Marino, who, as is known, only portrayed characters he considered interesting and whose personality and inner world he first had to understand: the famous sculpture that followed was then given to him.

Marina Marini in her book "Con Marino" tells of their visit to Henry Moore's studio-home:

“Henry and Irina Moore welcomed us warmly: their house was gorgeous, in the large garden the sculptures placed here and there looked like abstract characters.”

We also like to remember the tribute that our Graphis Arte editions in the 70s dedicated to friendship with these great sculptors by publishing the album of original 3M engravings (Marino, Moore, Manzù) as a seal of our acquaintance at the time with these 3 great artists.

The exhibition compares original graphic works, etchings, lithographs, aquatints, by Marino and Moore, the genius of two artists different in culture and style but united by research and their own original idea of ​​making sculpture. Both agree in considering drawing an integral part of plastic art and in placing the study of forms above traditional aesthetic criteria.

While the Tuscan artist was looking for a form for his Pomones, his Knights, his Acrobats and his portraits, finding it in the past, going back to the cultural roots of Tuscan sculpture from the Etruscans to the Renaissance, the English artist observed and snatched details from organic shapes. It is between these two poles, History and Nature, that both sculptors place themselves in the international Olympus of the great adventure of modern art.