Edgardo Mannucci (1904 - 1986) Idea No. 1, 1960 Brass sheet and wire, cast bronze slag, solder and coloured glass 161.3 x 129.2 x 32 cm (sculpture and pedestal) Distinguishing features: label of the Cassa di Risparmio di Fabriano e Cupramontana with inventory reference; similar label with details of the work, partially legible Provenance: the artist's studio; Cassa di Risparmio di Fabriano e Cupramontana; Veneto Banca SpA in LCA Bibliography: E. Crispolti, 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 incorrect date, 1958) E. Crispolti, ed., "Materia e spazio: la "poetica" di Mannucci", 1979 E. Crispolti, "Materia, Energia, Spazio: Edgardo Mannucci, un scultore postatomico", Macerata, 1981, p. 11, p. 99 (ill.) V. Volpini, "Mannucci", Fabriano, 1982, f.t. plate. 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 e il novecento", 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., Mannucci, Chiostro del Buon Gesù, Fabriano, 1982 Enrico Crispolti, ed., "Edgardo Mannucci. Anni Trenta-Ottanta", Palazzo Braschi, Rome, 7 May - 2 June 1991 Conservation status. Support: 90% Conservation status. Surface: 90% "The materially differentiated planes": the configuration of the material already suggests, however, an internal dynamic tension, that is, Mannucci is keen to clearly differentiate different moments of the material presence, precisely by adjectivalising different planes of the material support in a decidedly differentiated manner; already in tests from 1949, as for example in "Opera n. 5", 1949, one can already perceive the desire to distinguish the planes structurally hovering in space, which weave that sculpture, according to their materialological diversity, i.e. smooth planes, lattice planes and reticular wefts; but see "Opera n. 2", 1952, which is a "mobile", or Idea n. 1, 1960" (Crispolti 1981, p. 11).