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Works
3.4
 II FLOOR - ROOM 3.4

 

materials and measurement
Materials

Pigment on canvas

Height: cm. 213.50
Width: cm. 340.50

 

Other Works in
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Piero Manzoni, Linea 15,81 Linea 15,81
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1960
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1962
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1989
Richard Serra, Untitled Untitled
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Gianni Pisani, L'incidente L'incidente
1964
Carlo Alfano, Frammenti di un autoritratto anonimo Frammenti di un autoritratto anonimo
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Donald Judd, Untitled Untitled
1966
Dan Flavin, Senza titolo (to Ileana and Michael Sonnabend) Senza titolo (to Ileana and Michael Sonnabend)
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Ettore Spalletti, Untitled (SOTTOSOPRA) Untitled (SOTTOSOPRA)
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Robert Rauschenberg, Add Add
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Robert Rauschenberg, Engagement Engagement
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Andy Warhol, Spalding Soft Ball Spalding Soft Ball
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CLAES OLDENBURG, Untitled Untitled
1960
CLAES OLDENBURG, Untitled Untitled
1961
Jim Dine, Untitled (Hammer) Untitled (Hammer)
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Jim Dine, FOUR CHAIRS # 12 FOUR CHAIRS # 12
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Michelangelo Pistoletto, Black Venus Black Venus
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Jenny Holzer, JAW BROKEN OCHRE JAW BROKEN OCHRE
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David Hammons, UNTITLED (BASKETBALL DRAWING) UNTITLED (BASKETBALL DRAWING)
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David Hammons, Rock Head Rock Head
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ROY LICHTENSTEIN, INTERIOR WITH PAINTING OF TREES INTERIOR WITH PAINTING OF TREES
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CLAES OLDENBURG, Meringue Chantilly Meringue Chantilly
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CLAES OLDENBURG, Dessert on plate Dessert on plate
1962
CLAES OLDENBURG, Bread on breadboard Bread on breadboard
1962
CLAES OLDENBURG, Vitello tonnato Vitello tonnato
1962
CLAES OLDENBURG, FALLING OMELETTE FALLING OMELETTE
1964
Sigmar Polke, THIS IS ALL THAT REMAINS OF THE ORIGINAL STATUE THIS IS ALL THAT REMAINS OF THE ORIGINAL STATUE
1974
Bruce Nauman, Steel Channel Steel Channel
1968
Gino de Dominicis, Asta In Equilibrio Asta In Equilibrio
1970
Gerhard Richter, Wolken Wolken
1970
Tom Wesselmann, Study for interior #2 Study for interior #2
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Tom Wesselmann, Untitled Untitled
1964
Charles Ray, Untitles Untitles
1973
Alighiero Boetti, Map Map
1971 - 1973
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1982
John Baldessari, Goya Series: so much and more Goya Series: so much and more
1997
Robert Rauschenberg, Pompei Gourmet Kitchen Glut (Neapolitan) Pompei Gourmet Kitchen Glut (Neapolitan)
1986
Nino Longobardi, Terrae Motus Terrae Motus
1981
Ernesto Tatafiore, Robespierre Robespierre
1980
Ernesto Tatafiore, Pittore di fuoco Pittore di fuoco
1985
Carl Andre, 20 Aluminium Rectangle 20 Aluminium Rectangle
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Douglas Gordon, Don’t think about it Don’t think about it
2001
Gilbert & George, Our Spunk Our Spunk
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Mimmo Paladino, Untitled Untitled
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Domenico Bianchi, Untitled Untitled
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ANISH KAPOOR, Wound Wound
1988
Miquel Barcelò, IN EXTREMIS VIII IN EXTREMIS VIII
1994
RICHARD HAMILTON, Study for a Fashion Plate (B) Study for a Fashion Plate (B)
1969
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Damien Hirst, Aminabenzoyl Hydrazide Aminabenzoyl Hydrazide
2008
JEFF KOONS, Teapot Teapot
1979
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1987
Paul McCarthy, BOY BOY
1994
Paul McCarthy, Girl Girl
1994
Matthew Barney, OTTODROME, MANUAL A (TRIPTYCH) OTTODROME, MANUAL A (TRIPTYCH)
1992
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1984
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FRANCESCO CLEMENTE, Place of Power III (1989)
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FRANCESCO CLEMENTE

Place of Power III

1989

 

Collection of Museo Madre, donation of the artist

 

 

 

The paintings of the series Place of Power of 1989 are only partly inspired by the funerary chambers of the Valley of the Kings, that the artist visited in 1986. Made up of geometric
and ornamental elements, they are more suggestive of a field of forces than of a specific place, a feature borrowed from the Abstract and Informal tradition of the post World War II period. They bear no reference to reality, except for the presence of an ornamental element, which in Place of Power I can be identified with one of the candelabra that adorned the frescoes housed in the Augustan villa of Agrippa Postumus in Boscotrecase, near Pompeii. The villa, destroyed by the eruption of Vesuvius in 79 AD and brought back to light in the early XX century, was in fact decorated in the socalled third Pompeian style or “candelabra style” (the original fresco is housed in the Metropolitan Museum of Art, New York).

 

 

The paintings of the series Place of Power of 1989 are only partly inspired by the funerary chambers of the Valley of the Kings, that the artist visited in 1986. Made up of geometric and ornamental elements, they are more suggestive of a field of forces than of a specific place, a feature borrowed from the Abstract and Informal tradition of the post World War II period. They bear no reference to reality, except for the presence of an ornamental element, which in Place of Power I can be identified with one of the candelabra that adorned the frescoes housed in the Augustan villa of Agrippa Postumus in Boscotrecase, near Pompeii. The villa, destroyed by the eruption of Vesuvius in 79 AD and brought back to light in the early XX century, was in fact decorated in the so-called third Pompeian style or “candelabra style” (the original fresco is housed in the Metropolitan Museum of Art, New York).

 

Related Works
Place of Power I Place of Power I

1989

 

 

 

 

FRANCESCO CLEMENTE
FRANCESCO CLEMENTE
Napoli 1952
[...] sitting in Madras at the Theosophical Society for several years, I was reading Indian authors who were familiar with the writings of Emerson, of Thoreau. So in India ...
[ continues ]

 

 

 

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Place of Power I
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Frammenti di un autoritratto anonimo