Manuel Marín

MANUEL MARÍN (Cieza, Murcia, 1942 - Málaga, 2007).
Untitled, c. 1970.
Polychrome iron. Unique piece.
Attached certificate of authenticity issued by Mrs. Monika Rabassa, widow of the artist.
It has very slight wear.
Signed.
Measurements: 90 x 170 x 50 cm.
This is a mobile sculpture in polychrome iron, whose range of primary colors refers directly to the neoplasticist tradition and the exploration of the relationship between form, color and balance in space. This work is inscribed in the context of the 1970s, a time when Manuel Marín was fully focused on his artistic career in New York. After the opening of The American Indian Art Gallery, he intensified his sculptural production and consolidated his own language. Since 1969 he devoted himself especially to the creation of mobile sculptures, a fundamental line in his career, and in 1970 he presented his first solo exhibition at the Alan Brown Gallery in Scarsdale, thus initiating his public projection as a sculptor.
Manuel Marín began in the world of bullfighting at the age of ten and made his debut in a bullfight at sixteen. However, at the age of twenty he decided to move to London, where he began working in an art gallery and discovered his vocation for sculpture. There he met the British artist Henry Moore, who incorporated him as an assistant in the creation of his bronze sculptures. In 1964 he moved to New York, where he worked as an art restorer before founding his own gallery, The American Indian Art Gallery, which had among its clients figures such as Warhol, Basquiat, De Kooning and Keith Haring. Fascinated by mobile sculptures, he began his own production in 1969 and the following year held his first exhibition at the Alan Brown Gallery in Scarsdale. Since then, his work has been exhibited in New York and in countries such as Canada, Italy, Mexico, China, Puerto Rico, Japan and Spain. He currently has public monuments in the United States and Spain, and his work is part of international collections, having been recognized by both critics and the public.