This is from Complete Works of Marino Marini by Patrick Waldberg (1970):
… Reality, for Marino, is the form which “supports the flesh like a bone-structure.”
Marino Marini, Cavaliere
… Once, when we were talking about Marino a very long time ago, I heard Giacometti say how much he admired this [Marini’s] instinctive growth, this ease. I remember that he employed the word exuberance, contrasting it with what he called his own constrictedness. Now, antinomic though they are, these two artists are comparable in their mutual fascination before the real and through their common design to give a face to human destiny.
[line break added] Giacometti attacks the real by intense concentration upon a single point, penetrating it like a drill, seeking the particles at its secret and trembling core; whereas Marino’s gaze is one that encompasses, embracing, along with the object, all the planes and horizons which condition it. And so it is that each of Marino’s works looks like a sampling of reality, a piece of reality that has been lived through, experienced, and on the basis of which it is possible to reconstruct the whole.
[line break added] In Giacometti’s work there is an oscillation between two poles, chaos and, to borrow Jacques Dupin’s phrase, an “agonizing lucidity”; and from this permanent tension arises the existential angoisse that from the outset stamps each of his gestures. But it is mistakenly that certain commentators have qualified as existential the distress expressed notably in the Warriors or in a monument like Cry.
[line break added] For existential distress, as we know, is never provoked by a determined or determinable existent, it is, according to Sartre’s own terms, “distress in the face of oneself.” No such state was present in Marino at the start; distress infiltrated his work gradually, imposed from without by mounting external pressures [two World Wars], and ended at last by giving his work its ultimately tragic expression.
[line break added] At a period when, precociously obsessed by death, Giacometti, with parsimony, was shutting up skeletons inside cages or else throwing to the ground the shattered pieces of Woman with her throat cut, Marino’s work, to the contrary, was thriving and in it he was meaning to register the intimate rhythms of movement and measure which are, said Valéry, “what is real inside reality.” From the first little terracotta nudes to the first horses and the polychrome rider, Marino was above all minded to give us the plastic effigy of the movement which quickens in the soul and makes it thrill in harmony with the forces animating all the world.