Drumbeat and harp sound, from the loud to the very subtle – that's how our presentation of wonderful, really diverse artworks at BRAFA Art Fair 2023 can be characterized.
After only a half-year BRAFA break, our favorite fair returns at to beginning of the year. In January, when everything is coated in grey, BRAFA brightens our eyes with all its preciousness and fine art; in the atmospheric, exquisite art deco ambience of the Brussels Expo Halls on the Heysel, the most beautiful objects of the art market are offered to us, similar to Tefaf in Maastricht: from ancient, antique and non-European as well as new and contemporary art up to design, handicrafts and curiosities.
Once again, we will be presenting a selection of highlights, modern classics, CoBrA art and some contemporary positions. For the 2023 edition of BRAFA, the "drumbeat" will be the imposing monumental painting Witnessing the Dawn by Karel Appel, and the "harp sound" will be the multi-layered, splashy, nearly three-meter-wide A L'Aveuglette by Pierre Alechinsky; our modern section orchestrates a wide variety of "solo instruments" such as the wonderful bronze sculpture Gentiluomo a cavallo by Marino Marini or André Masson's bronze Extase; and our commitment to the art of today is represented by the German painter Johannes Heisig and the sculptor Dietrich Klinge, among others.
We look forward to seeing you in Brussels!
The subject of Miracolo sculptures is almost Marino Marini's horseman at his most dramatic and abstract. The first Miracolo was created around 1951 - when, during and even more after the war, the horror, and disillusionment in Marini's art became palpable. A dramatic change occurs in the nature of Marini's equine sculptures: the earlier composure shifts into an expressionistic approach, reflecting the artist's sense of apprehension for the fate of all humankind.
While the first works of this series still show the animals with their forepart of the body collapsing to the ground, and the rider tearing out diagonally backward as they fall, later Miracoli are set up vertically. The horsemen are violently thrown off of rearing horses that they can no longer control. Increasingly, the figurative becomes submerged in destructive abstraction in an extreme tension between the vertically erect body of the horse and the human body plunging backward.
The bronze from 1953/54 shown here depicts precisely this kind of vertical representation of horse and horseman, with the upper part of the sculpture and the soaring movement evoking many of Marini's horse depictions. The predominant part of the composition is the horse's head moving diagonally upwards. About to fall, just clinging to the horse's back with his legs, the rider can be observed, also in the diagonal, his own back against that of the rearing horse, whose hind legs stick up to the sky while it has fallen on its rear end in the fall. This outstanding sculpture of the Italian artist awaits you until February 25, 2023, in our exhibition Marino Marini!