Edgardo Mannucci (1904 - 1986) Idea No. 4, 1972 Copper plate covered with soldered brass and brass wire and Murano glass 274 x 113 x 130 cm (sculpture) 68 x 73 x 68 cm (plinth) Distinctive elements: plaque, detached, with details of the work Provenance: the artist's studio; Veneto Banca SpA in LCA Bibliography: Venice Biennale, 1972, cat. 47, ill. 11 Brussels, 1973, cat. 47, ill. 47, p. 65 Fano, 1974 (ill. with incorrect title and date: "idea no. 18" and "1973) Jesi, 1974 (ill.) "Arte Nuova Oggi", 1974, ill., p. 14 E. Crispolti, ed., "Materia e spazio: la "poetica" di Mannucci", pp. 7, 8, 22, 1979 E. Crispolti, "Materia, Energia, Spazio: Edgardo Mannucci, un scultore postatomico", Macerata, 1981, p. 11, p. 99 (ill.) L. Venturi, scheda dell'opera, in Crispolti 1981, pp. 160, 163-164 V. Volpini, "Mannucci", Fabriano, 1982, plate f.t. "L'oro delle Marche, con un omaggio a Mannucci", Fano, 1984 (ill.) Gubbio 1984, p. 35 (ill.) "Edgardo Mannucci. Ori e sculture", Palazzo Collicola, Spoleto, 1986, ill. "Edgardo Mannucci", Atelier Arco Amoroso, Ancona, 1990 E. Crispolti, ed., "Edgardo Mannucci. Anni Trenta-Ottanta", Rome, 1991, cat. IV A 6, p. 45 (ill.) E. Crispolti, ed., "Mannucci e il novecento", Cinisello Balsamo, 2005, cat. 21 Exhibitions: Venice Biennale, 1972 (at the invitation of Giuseppe Marchiori) Brussels, 1973 Fano, 1974 ill. Jesi, 1974 Valeri Volpini, ed., "Mannucci", Chiostro del Buon Gesù, Fabriano, 1982 "L'oro delle Marche, with a homage to Mannucci", Chiesa di San Domenico, Fano, 1984 Gubbio, 1984 "Edgardo Mannucci. Gold and sculptures", Palazzo Collicola, Spoleto, 1986 "Edgardo Mannucci", Atelier Arco Amoroso, Ancona, 1990 Enrico Crispolti, edited by, "Edgardo Mannucci. Anni Trenta-Ottanta", Palazzo Braschi, Rome, 7 May - 2 June 1991 Conservation status. Support: 90% Conservation status. Surface: 90% (oxidation) "The helix/wing is an extension of the spiral movement, at a level that already involves the material element completely, i.e. there is no longer a debate between the sign of energy and the sign of inertia, but the energy has involved this one, and all the matter spreads out in the large wing rotating in a vortex, very spectacular, as in capital works such as "Opera n. 8", 1954, and "Idea n. 4", 1972" (Enrico Crispolti, in Crispolti 1981, p. 11). ""Idea n. 4", 1972, reproposes the Mannucciano theme of the wing, now coiled in a spiral space, marked by buttonholes, some of them with large coloured vitreous gems, and with a principle of winding and wide spiral trajectory, flush, rising from the base, another vitreous, red, generating nucleus. "Idea No. 4", is particularly precious in the ratio of metals, copper and brass, skilfully treated piece by piece, and in the highly sensitive coloured glass presences, as in "Idea No. 2". Preciosity is now a predominant trait in Mannucci's new sculptures, it is exhibited almost overbearingly, at times almost excessive for those who loved certain of his more subtle silences. But it is but a coherent development of his plastic thought. In fact, it is not an external, decorative preciousness, it is an aspect of the energetic growth of the material, a clamorous affirmation, in terms almost of splendour, archaic, ancient too like the Mycenaean or Italic testimonies; exalting now beyond the relictual, in a fascinating growth, in its own barbaric way, as is always the clamorous golden display and the somewhat brazen setting of the precious stone" (Lionello Venturi, in Crispolti 1981, p. 160). The sculpture is still located at the Intesa San Paolo headquarters in Via Don G. Riganelli 36 in Fabriano, formerly the headquarters of Veneto Banca and before that of Cassa di Risparmio di Fabriano e Cupramontana. The removal of the sculpture - both administratively and operationally - is the responsibility of the purchaser.