Firenze, a trip into the new sculpture project by Emiliano Marinucci.

Rediscovering the roots of technique in marble spiral figures.

Bandinelli’s Ercole e Caco

The trip to Firenze was an opportunity to study the sculpture of the renaissance, especially the works originated by the definite spell of the most revolutionary sculptor of all times : Michelangelo Buonarroti.

The essence of its relation with the marble is very clear and idiomatic, as expressed by the surface marks of his so called unfinished style ” il non finito”. This style reveals his ideas on sculpture clearly, leaving different surfaces, with the marks of the different tools, like the gradine, with her teeth or the subbia, with the point, leaving traces that reveal both the feeling of the artist and his desire not to replicate the human figure but his ides of it in marble.

Giambologna, detail of the Nettuno Fountain, Bologna.

This sonnet by him truly speaks this language:

Non ha l’ottimo artista alcun concetto
c’un marmo solo in sé non circonscriva
col suo superchio, e solo a quello arriva
la man che ubbidisce all’intelletto.

Il mal ch’io fuggo, e ’l ben ch’io mi prometto,
in te, donna leggiadra, altera e diva,
tal si nasconde; e perch’io più non viva,
contraria ho l’arte al disïato effetto.

Amor dunque non ha, né tua beltate
o durezza o fortuna o gran disdegno,
del mio mal colpa, o mio destino o sorte;

se dentro del tuo cor morte e pietate
porti in un tempo, e che ’l mio basso ingegno
non sappia, ardendo, trarne altro che morte.

Michelangelo, La Notte, Cappelle medicee

The trip was aimed at the realization of new sculptures, studying the originals directly and planning trips to the direct caves to choose the stone for them. The spiral, ascending exactly like the violin scroll, is the shape around which the figures combine their attitudes. at the same time, ascending, it’s the route of the reasoning in the madrigals of Tasso, his doubt and his setting of life. The interior conflict of the artist, of the believer. That desires the perfect adherence of idea and matter.

Passing through the sounds of Monteverdi, the voice of Arcadelt, the spiral and cambers of the violin, the itinerary for the creation of new sculptures is open in the sign of the great tradition of the Florentine art.

Head in clay from the Arezzo hills in the works.