Martini created La Nena, the portrait of his daughter Marie Antoinette, around 1930, and this work revives the artist's interest in the theme of the bust. Returning to a discourse...
Martini created La Nena, the portrait of his daughter Marie Antoinette, around 1930, and this work revives the artist's interest in the theme of the bust. Returning to a discourse begun in the 1920s, the artist on this occasion interprets it in a completely different way; the universality of the classical image is completed by lively realistic strokes, the rigorous, clear lines are replaced by the vibrant surface of the terracotta. The sculpture was produced in a small series of about ten pieces, some retouched on fresh clay, an ideal material to convey the movement captured in the portrait and to reveal the sculptor's creative process. A special feature of this sculpture is that it is made of refractory terracotta, a material that has a higher firing temperature and allows more precise and clean modeling. Martini named the sculpture 'Travelling Girl'; the artist's nine-year-old daughter is pictured on a train leaving for boarding school, pensive and slightly melancholic, with her arms gently crossed, delicate facial features and fleeting gaze. The sculpture is characterised by its pictorial quality, the sensuality of the texture and, above all, its psychologism, concepts that have great value in the case of the so-called affection portraits, where the artwork captures and preserves the image of the artist's loved ones. At the same time, Martini's artistic aspirations go beyond physiognomic resemblance and the representation of a character's state of mind to create a universal image, which the artist achieves here both through the classical half-bust format used in Etruscan, Roman, and Renaissance art and through the generalisation of facial features and a light touch of linear purism in the representation of details and drapery. A unique example of balancing the two opposite poles that characterise the portrait genre: individualisation and typologisation. The Nena, from its first exhibition, immediately attracted the attention of the public and critics and was considered an astonishing example of the combination of the universal and the realistic in sculpture, to the point of becoming one of the most intense portraits in Martini's artistic research.
Savona, Teatro Chiabrera, Terza Mostra del Sindacato Ligure. Mostra artistica e artigiana. Mostra personale, August 1932 (another cast exhibited)
Milan, Galleria Milano, Arturo Martini, March 1933 (another cast exhibited)
Treviso, Prima mostra postuma di Arturo Martini, 1947, n. 57 (another cast exhibited)
Anversa, Museo Middelheim, I Biennale Internazionale di scultura all'aperto, 1953, n. 66 (another cast exhibited)
Florence, Palazzo Strozzi, Arte moderna in Italia 1915-1935, 26 February - 28 May 1967, n. 1174, p. XXXIX (another cast exhibited)
Treviso, ex tempio di Santa Caterina, Arturo Martini, 10 September - 12 November 1967, n. 75 (another cast exhibited)
Milan, Galleria Toninelli, Otto sculture di Arturo Martini, 1971, n. 1 (another cast illustrated)
Milan, Galleria Gian Ferrari, Arturo Martini. Autentici e falsi a confronto, June 1979 (another cast exhibited)
Paris, Centre Georges Pompidou, Les Realismes 1919-1939, 17 December 1980-20 April 1981, tav. e p. 51 (another cast exhibited); poi Berlino, Staatliche Kunsthalle, 16 May - 28 June 1981, n. 24 (another cast exhibited)
Milan, Palazzo della Permanente, Mostra del Novecento Italiano 1923-1933, 12 January-27 March 1983, pp. 53-62, n. 83 (another cast illustrated)
Milan, Palazzo Reale, Arturo Martini, February-April 1985, p. 62, n. 26 (another cast illustrated)
Milan, Galleria Daverio, Arturo Martini. Terrecotte e ceramiche, November-December 1985, pp. 24-25, tav. VI (another cast illustrated)
Rome, Galleria Arco Farnese, Arturo Martini, 1987, p. 19, n. 11 (another cast illustrated)
Tokio, Il dinamismo della creazione. Mostra della scultura figurativa italiana del XX secolo (another cast exhibited)
Matera, Chiese rupestri Madonna delle Virtgu e San Nicola dei Greci, Arturo Martini. Da "Valori Plastici" agli anni estremi, 24 June -30 September 1989 (another cast exhibited)
Aosta, Centro Saint-Benin, Arturo Martini. Il gesto e l'anima, 7 July -1 October 1989, pp. 142-143, n. 30 (another cast illustrated) Roma, Galleria dell'Oca, Sul tema del ritratto, 1990
Paris, Hotel de Ville, Arturo Martini. L'oeuvre sculpté, 23 January-7 April, n. 17 (another cast illustrated)
London, Istituto Italiano delle Arti e delle Arti Applicate, Arturo Martini. Sculptures, 1991, n. 17 (another cast illustrated)
Florence, Palazzo Medici Ricciardi, Arturo Martini, 9 July -15 September 1991, n. 17 (another cast illustrated)
Anticoli Corrado (Rm), Civico Museo d'Arte Moderna, Arturo Martini. Gli anni di Anticoli Corrado, 16 March-30 April 1991, n. 34 (another cast illustrated)
Rome, Galleria Nazionale d'Arte Moderna, Omaggio a Lionello Venturi, 23 June - 4 October 1992, cat. (another cast exhibited)
Paris, Grand Palais, Malinconia: genio e follia in Occidente, 13 October 2005 - 16 January, 2006, cat. (another cast exhibited)
Milan, Fondazione Stelline e Palazzo della Permanente, Arturo Martini, 8 November 2006 - 4 February 2007; poi Galleria Nazionale d'Arte Moderna, 24 February-13 May 2007, cat., p. 150, n. 37 (another cast illustrated)
Verona, Palazzo della Ragione, Settimo splendore, la modernità della malinconia, 25 March-29 July 2007, cat., n. 16 (another cast illustrated).
Literature
E. Zanzi, La mostra degli Amici dell'Arte, in "Emporium", gennaio 1931, p. 53 (another cast illustrated); A. Rossi, Arturo Martini e tre pittori torinesi, in "L'Italia letteraria", 11 gennaio 1931; C. Carrà, La scultura alla Quadriennale. Terzo rapporto, in "L'Ambrosiano", 21 gennaio 1931; P. Sighinolfi, Martini alla Milano, in "Il Corriere Padano", 18 febbraio 1933 (another cast illustrated); d.t., Mostra di Arturo Martini a Milano, in "Il Tevere", 8 febbraio 1933 (another cast illustrated); R. Franchi, Arturo Martini, Firenze 1949, rist. 1951 e 1954, fig. 6 (another cast illustrated) Album Middelheim, Anversa 1959;
G. Perocco, Arturo Martini. Catalogo delle sculture e delle ceramiche, Treviso 1966, n. 160-163, fig. 134 (another cast illustrated)G. Mascherpa, Arte moderna a Milano, Milano 1976, p. 148 (another cast illustrated);
C. Gian Ferrari, Sironi, Carrà e Martini: le poetiche, in "Il Novecento italiano", Milano 1983, p. 344 (another cast illustrated)
M. Pratesi, Scultura italiana verso gli anni trenta e contemporanea rivalutazione dell'arte etrusca, in "Bollettino del Ministero per i Beni Culturali e Ambientali", novembre-dicembre 1984, p.92, fig. 2 (another cast illustrated);
E. Pontiggia, Martini. Arcaico e Romantico, in "Il Giornale", Milano 1985;
F. Benzi, Arturo Martini, Roma 1986, p. 19;
M.R. Benteim-Stoelen, Catalogue de la collection musée de sculpture en plein air Middelheim, Anversa 1987, p.101-102;
G. Vianello, Arturo Martini, vita, opere, fortuna critica, in G. Appella, M. Quesada, G. Vianello (a cura di), in "Arturo Martini da Valori Plastici agli anni estremi", Matera 1989, p. 56, n. 14 (another cast illustrated); F. Bellonzi, Scultura figurativa italiana del XX secolo, Roma 1989, p. 62; Italia anni Trenta. Opere delle Collezioni d'Arte del Comune di Milano, Milano 1989, p. 27 Roma anni Venti. Pittura, scultura, arti applicate, Roma 1990, pp. 34-35; A. M. Damigella, B. Mantura, M. Quesada, Il Patrimonio Artistico del Quirinale. La quadreria e le sculture, Roma 1991, p. 304, n. 1050;
G. Vianello, La storia d'amore della Biennale romana del 1925: nascita e motivi di un ciclo anticolano poco noto, in F. Benzi, "Arturo Martini", Roma 1991, p. 136;
P. Baldacci, G. Vianello, Arturo Martini, New York 1991, p. 39, n. 25 (another cast illustrated); C. Pirovano, Scultura italiana del Novecento, Milano 1991, p. 122, n. 164 (another cast illustrated); L. Tallarico, Forme oltre il tempo, in "Il Secolo d'Italia", 17 luglio 1993, p. 132; G. Di Genova, Storia dell'Arte italiana del '900 per generazioni. Generazione maestri storici, Bologna 1994, tomo II, p. 868, n. 1150 (another cast illustrated);
G. Fusconi, Il periodo etrusco di Arturo Martini, in "Xenia Antiqua", VI, pp. 206-207, n. 15-16 (another cast illustrated);
G. Vianello, N. Stringa, C. Gian Ferrari, Arturo Martini. Catalogo ragionato delle sculture, Vicenza 1998, p. 189, n. 280 (another cast illustrated