io! 
by 
8 
FE LE 
2e 
due SN 
18 
  
Marxer, new understanding of Verdi’s music, released in him the strength and the 
imagination to give shape to individual themes from Verdi’s operas. 
Taking the Chorus of the Hebrew Slaves from “Nabucco”as an example, Marxer 
demonstrates the art of omission, of leaving out. The drama of these tormented fi- 
gures arising out of the unworked base is reinforced by the “unworked” backgro- 
und. Marxer consciously abstains from working the marble to the end. This appa- 
rent reduction lends an individual, rugged appeal to those sculptures whose concept 
embraces this “leaving out”. 
It is an experience to see Marxer’s sculptures. It is an adventure to experience Mar- 
xer in Carrara — that is not the Toscana of the tourists. At the foot of the Apulian 
Massif, the Toscana of the marble, of the stone, opens up, away from the Tyrrhenian 
Sea, but nevertheless within its perceptiable vicinity. Marxer, who is surrounded by 
Mountains in the Principality of Liechtenstein, appreciates in Carrara “Having the 
protection of the mighty mountain range to the North and the opening to the sea, 
the expanse of the horizon, to the South”. 
Carrara is characterized by marble, even the stream flowing through the town is so- 
metimes milky white. Workshops, stocks of marble and the view of a mountain 
range in that is always changing, because marble is “harvested” every day, bestow 
an incomparable atmosphere upon the town. 
Hundreds of well-known and obscure artists succumbed to the fascination of this 
stone. Masters like Cellini, Donatello, della Robbia, Bernini, Canova and, in our 
time, Henry Moore or Itamo Noguchi worked in Carrara and sought the challenge 
of the white stone. It is this presence which distinguishes this town from other towns 
in the Toscana. 
When Marxer moves to Carrara, his move has nothing to do with the season: it is a 
matter of necessities. That which evolved in Liechtenstein is now shifted to Carrara. 
The workshop in the Via Aurelia has already been home to many artists. Luigi Cor- 
sanini, the owner of the workshop and master sculptor has passed on his knowledge 
to numerous artists. Without masters and workshop owners like him, there would be 
little opportunity to work in Carrara. Marxer is very obliged to Corsanini, because 
with him, he was able to extend the traditional craft of sculpture and today is still 
grateful for Corsanini’s help. With a hat made of newspaper, Corsanini goes from 
one artist to the other, gives a hand here, a word of advice there; unobtrusive, he 
characterizes the sculptor: leave it out. Sculptors and sculptresses of various nationa- 
lity work there, in the dust and the noise, each for himself or herself, but in an at- 
mosphere of common interest. Conversations are as much part of the scene as the 
unspoken, perceptible presence of each individual. In this communicative ambience, 
Marxer the Sculptor feels strengthened in his resolve to stick to his course. 
Opposite the workshop there is one of the many stocks of marble, where the artists 
may search for “their” stone. But when marble of special structure or particularly 
large size is required, Marxer drives up to the marble quarries. 
The way to the marble quarry is narrow and winding. To one of altogether 120 
quarries. Lorries become wrecked in the quarries. Wheel loaders and men are 
 
        

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