Marini succeeded Martini as professor at the Scuola d’Arte di Villa Reale in Monza, near Milan, in 1929, a position he retained until 1940.

In 1936 he moved to Tenero-Locarno, in Ticino Canton, Switzerland; during the following few years the artist often visited Zürich and Basel, where he became a friend of Alberto Giacometti, Germaine Richier, and Fritz Wotruba.

Curt Valentin began exhibiting Marini's work at his Buchholz Gallery in New York in 1950, on which occasion the sculptor visited the city and met Jean Arp, Max Beckmann, Alexander Calder, Lyonel Feininger, and Jacques Lipchitz.

On his return to Europe, he stopped in London, where the Hanover Gallery had organized a solo show of his work, and there met Henry Moore.

[13] After World War II, in the late 1940s, the horse is planted, immobile, with neck extended, ears pinned back, mouth open.

An example, in the Peggy Guggenheim Collection in Venice, is "The Angel of the City," depicting "affirmation and charged strength associated explicitly with sexual potency.

In the artist's final work, the rider is unseated as the horse falls to the ground in an "apocalyptic image of lost control" which parallels Marini's growing despair for the future of the world.