Gli amanti (Il bosco)

The presence of the saddled horse, standing near the opening that introduces the dark space between the trees, has in retrospect convinced us of the title "Gli amanti" for this terracotta, considering it as a variation on the theme of the "lovers on horseback", confronted by Martini in 1932. The curiosity and suspense that this work generates depend on the ably created theatrical composition, resolved by the plastic solution of the trees which, arranged in a circle, define a mysterious, impenetrable internal space. Their simplified, naked forms recall certain solutions adopted by Martini at the start of the twenties, in which he aspired to contemporary works by Carrà, although they are easily distinguishable from Carrà's rounded off volumetric definition. The narrative character, subtle irony, unusual spatial orchestration and shameless use of firing clay (composed of raw clay and tiny pieces of already fined clay, that give the substance a particularly grainy texture) in this work are recurrent traits of many terracotta works created by the sculptor in 1932 and 1933. Perhaps Lamberto Vitali had sculptures such as this in mind when, in his article dedicated to the artist in May 1933, he declared his preference for the recent terracotta works in which Martini developed subjects suited, for their narrative capacity, "more to painting than to sculptures". When "Gli amanti" was first exhibited at his solo exhibition at the Galleria Milano, in early Februry 1933, it was no longer the property of the artist, who had sold it (28 January 1933), together with another twenty works to the hosting gallery, and authorising their eventual transformation into bronze casts. The work entered the Boschi Di Stefano collection in 1935. [Massimo De Sabbata]