Edgardo Mannucci (1904 - 1986) Idea No. 1, 1960 Brass... Lot 305

Edgardo Mannucci (1904 - 1986) Idea No. 1, 1960 Brass foil and wire, cast bronze slag, solder and stained glass 161.3 x 129.2 x 32 cm (sculpture and pedestal) Distinctive elements: label of Cassa di Risparmio di Fabriano e Cupramontana with inventory reference; similar label with work data, partially legible Provenance: the artist's studio; Cassa di Risparmio di Fabriano e Cupramontana; Veneto Banca SpA in LCA Bibliography: E. Crispolti, edited L'Attico, Rome, 1960 (ill.). E. Crispolti, "Edgardo Mannucci: sculptures 1948-1960," Rome, 1961 (ill) E. Crispolti,a cura di, IV Biennale d'Arte del metallo, Gubbio, 1967 (cat. 19) "Edgardo Mannucci," Fano, 1970 (ill) Jesi, 1974 (ill, with erroneous date, 1958) E. Crispolti, ed, "Matter and space: the 'poetics' of Mannucci," 1979 E. Crispolti, "Matter, Energy, Space: Edgardo Mannucci, a postatomic sculptor," Macerata, 1981, p. 11, p. 99 (ill.) V. Volpini, "Mannucci," Fabriano, 1982, f.t. panel. G. Di Genova, 1986, p. 384 E. Crispolti, ed. "Edgardo Mannucci. Anni Trenta-Ottanta," Rome, 1991, cat. III A 8, p. 37 (ill.) G. Di Genova, 1996, p. 469 E. Crispolti, ed., "Mannucci and the twentieth century," Cinisello Balsamo, 2005, cat. 110 Exhibitions: E. Crispolti, ed, L'Attico, Rome, 1960 E. Crispolti, ed, IV Biennial of Metal Art, Gubbio, 1967 Edgardo Mannuci, Rocca Maltestiana, Fano, 1970 Jesi, 1974 Valerio Volpini, ed. by, "Mannucci," Chiostro del Buon Gesù, Fabriano, 1982 Enrico Crispolti, ed. by, "Edgardo Mannucci. Anni Trenta-Ottanta," Palazzo Braschi, Rome, May 7-June 2, 1991 Conservation status. Support: 90%. Conservation status. Surface: 90%. "The materially differentiated planes: the configuration of the material suggests, however, already an internal dynamic tension, that is, Mannucci holds to clearly differentiate different moments of the material presence, precisely by adjectivalizing in a decidedly differentiated way different planes of the material support; already in tests of 1949, as for example in "Opera no. 5," 1949, one senses the desire to distinguish the planes structurally hovering in space, which plot that sculpture, according to their materiological diversities, namely, smooth planes, lattice planes, and reticular textures; but see "Opera No. 2," 1952, which is a "mobile," or again Idea No. 1, 1960" (Crispolti 1981, p. 11).