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ANDREA BENETTI



Via F. Zanardi, 56/4
40131 Bologna
Italien (Italia)
+393389290128

www.andreabenetti.com

Kunstart: Malerei
Technik: Ölmalerei


Statement:
Manifesto of Neo Cave Painting
by Andrea Benetti

Since the dawn of humanity, well before the invention of written language, Man felt the need to communicate, to leave some trace of his passage through this world. This he accomplished through painting.
Early Man had to deal with the sun, the earth, the waters and the sky every day… had to find a way to find his place in the balance of Nature. And even when Nature was unthreatening, he was in awe of Her, treating Her with the respect due a Deity, in full awareness of his own human limitations. Contemporary Man has denied those limits and trampled that respect, placing himself at the center of the universe and giving his own selfish needs absolute priority. In doing so, he has stupidly destroyed the enchantment and desecrated the sanctity of Life and Nature.
So let’s take a step backward.
Let’s start over, with the proper respect for Nature and for human life as our point of departure. Art needs to begin afresh from its earliest form: cave painting.
We need to go back to the dawn of Man and his primeval art to reconstruct the world: a new world in which respect for Nature and human dignity are finally at the heart of the will of Man. Only in this way will we reaffirm the sacredness of Life which we have sacrificed in favor of an empty, short-sighted lifestyle, one which has been leading us to our own destruction. We need to re-create the necessary conditions to be able to envelop the world in love and peace.
Let’s begin with cave paintings, with which primitive man, being far wiser than we are, decorated his rocky walls to gain favor with the supernatural forces.
This is what Art can do.
We must rediscover within ourselves that primordial, uncontaminated essence, free of the preconceptions which condition modern Man: conditions imposed by a global consumption-driven society that is spurring us on to become unstoppable producers and insatiable consumers of an endless stream of goods.
We need to rebalance the relationship between Man and Environment, between production and consumption.
We need to seek the purity of our inner child who has yet to discover the world but instead still interprets it through his imagination, observing it with wonder and curiosity.
We need to live as if the present moment were eternal, regarding the past with a critical, but constructively critical eye. We must cease seeing our lives as merely utilitarian, where every action can be likened to a chess move, aimed at conquering the board.
We must learn to live by listening to our own essence: that childlike essence that loves contact with nature, eats healthy food, lives in tune with traditions, the deep-rooted and widely-shared values that have long buoyed humanity. We seek refuge from the advancing cement blocks, from the plastics that have come to envelop everything, from the frantic pace that subconsciously permeates our every deed, pushing us into a headlong rush even when there is effectively no need to hurry.
Let’s take back the course of history and not passively accept the changes forced on us by the powers that be, which, through campaigns of persuasion tactics, have tried to take away our individual personhood and reduce us to mere numbers, weighed down with heavy minds.
A person cannot be reduced to a number, not even in the face of the unprecedented rise in global population.
We need to remember that the human being is, first and foremost, an ethereal essence, beyond his material body, which all too often is obsessed with the pursuit of ephemeral pleasures. This concept seems to have escaped our conscious mind and its flight has had dire consequences. To deny or fail to cultivate the immaterial sphere of our humanity is to deny that which makes us human.
This concept is not rooted in any religion, but is the fruit of a “dualistic” view of the individual which recognizes that human beings develop and grow on both levels. Not allowing the material side of life to outweigh the ethereal is a sign of wisdom and awareness that elevates us above other living creatures. Without this element of mystery, of immaterialism, man has no future and is destined to become extinct. But before extinction, he will have reached the lowest point of his existence, where life itself ceases to be of value, having been sacrificed on the altar of rampant hedonism devoid of any solid content. By the same token, as far as art goes, symbols, lines and colors need to once again be the main features of a painting, recounting in their simplicity and beauty the life they represent. We need to allow the sense of primordial instincts that resides within each of us to be our guide, our key to interpreting the world around us. Even our assimilation and use of the most advanced technologies has to be filtered by this sensitivity.
This sense of mystery, of the unknown, must reign unencumbered in art. There must be an element of doubt because in a “society of certainties,” there is no room for imagination and anything that recalls imagination seems fake, designed in some office to produce a particular effect. We draw distinct boundaries between that which is truly felt, which comes from that “mysterious” part of ourselves, and that which is false and exploitive.
A broken-down washing machine or a rusted bicycle are not art; they are simply a broken-down washing machine or a rusted bicycle.
Art is another thing altogether.
In the ancient caverns, where prehistoric “cave-artists” traced their lines and spread their colors, every art form was invented: figurative, abstract, symbolic, conceptual… The future of painting was already mapped out; nothing was missing.
Let’s start over, then, once again tapping into those flashes of intuitional, instinctive genius that come straight from the heart with the power of a child; the child who draws and colors, often without knowing what his creations might mean, since they appear full-blown and unadulterated directly from his subconscious.
Producing a hundred times more goods than we actually need while passively witnessing a huge portion of humanity perish each day for lack of food and water is criminal and the antithesis of our instinctual tendencies.
How can our conscience allow a consumerist civilization to exist in a world where so many are struggling, often in vain, merely to survive?
We need to start from scratch before it’s too late, if it isn’t already.
If humanity hopes to escape self-destruction, it must start over, trying not to make the same mistakes but placing importance on the true values of human existence, refuting the false myths and idiocies imposed by a vacuous lifestyle that generates profit for those that control it.
It is easier for the powers that be to rule over a people that does not think for itself or educate itself, but blindly follows the dictates of laboratory-created fashions.
If we look around us and begin to measure people’s general level of awareness, we realize just how much we have been tricked: tricked into a stupor of stupidity that has rendered us harmless; tricked into believing that the flood of stuff we are meant to desire is the essential meaning of life, the goal of our existence.
The progress of our civilization has been characterized by a host of factors which may be regarded as double-edged swords, depending on how we use them.
Unfortunately, improper use or abuse of many goods in our society has come to be the norm, rather than the exception; a well-established way of life.
This is true across the board, uniting the indigent with the wealthy, the young and their elders, all running a mad, frantic race which is leading us away from our identity as individuals and turning us into pawns, into puppets whose movements and choices are manipulated from above, so cleverly that we don’t realize we are victims of a dictatorship, but believe we are exercising our free will as individuals.
We have therefore been “programmed” like remote-controlled toys to believe that we are free to make our own choices and decide for our own future. But in fact we are not free and never will be unless we manage to break the shackles of our tacit and often unconscious obedience.
This is why art needs to return symbolically to its roots. In every era art has been ahead of its time, a beacon to be followed. This time, however, it will not be leading blindly towards unexplored territory, but will have the wisdom to backtrack towards its origins, aware of the importance of its role in providing the cornerstones for reconstructing the foundations on which our very existence is built.
It will be a return to our symbolic roots, but remember that symbols sometimes have a power which is matched only by the force of Nature. And it is with Nature that we must seek harmony; Nature that we must once again learn to respect and to love.

Bologna, December 7, 2006


Vita / Lebenslauf:
ROMA Andrea Benetti in mostra coi Maestri del '900
"PORTRAITS D'ARTISTES" a cura di Christian Parisot, Pierfrancesco Pensosi e con la presentazione alle televisioni ed alla stampa a cura del professor Vittorio Sgarbi.

Nella mostra presso l'Amedeo Modigliani Institut - Archives Legales Paris-Roma (Palazzo Taverna - Roma), saranno esposte le opere di:

Amedeo Modigliani
Giorgio De Chirico
Andrea Benetti
Andy Warhol
Keith Haring
Mario Schifano
Max Jacobs
Carlo Corsi
Jules Pascin
Guido Cadorin...
Il catalogo è edito da "Casa Modigliani Edizioni".

ANDREA BENETTI'S WORKS AROUND THE WORLD
LE OPERE DI ANDREA BENETTI NEL MONDO

QUIRINALE ART COLLECTION (Roma - Italy)
Acquired in the Art Collection
“Caccia VII” - Oil and hennè and acryllic on canvas, cm 50 x 100 (2010)

COLLEZIONE D'ARTE DEL QUIRINALE (Roma - Italia)
Acquisito nella Collezione d'Arte il dipinto
“Caccia VII” Olio e hennè e acrilico su tela, cm 50 x 100, (2010)

VATICAN ART COLLECTION (Roma - Italy)
Acquired in the Art Collection
“A tribute to Karol Wojtila” - Oil and cacao and acryllic on canvas, cm 70 x 50 (2009)

COLLEZIONI D'ARTE VATICANE (Roma - Italia)
Acquisito nella Collezione d'Arte il dipinto
“Omaggio a Karol Wojtyla” Olio e cacao e acrilico su tela, cm 70 x 50, (2009)

UNITED NATIONS ART COLLECTION (New York - U.S.A.)
Acquired in the Art Collection
“Against violence” - Oil and acryllic on canvas, cm 14 x 19 (2007)

COLLEZIONE D'ARTE DELLE NAZIONI UNITE (New York - U.S.A.)
Acquisizione nella Collezione d'Arte il dipinto
“Against violence” Olio e acrilico su tela, cm 14 x 19, (2007)

MONTECITORIO PALACE - ITALIAN CHAMBER OF DEPUTIE (Rome - Italy) Acquired in the Art Collection “9 novembre 1989" - Oil and karkadè on canvas, cm 60 x 80, (2009)

PALAZZO MONTECITORIO - CAMERA DEI DEPUTATI (Roma, Italia) Acquisita nella Collezione d'Arte l'opera intitolata "9 novembre 1989" - Olio e karkadè su tela, cm 60 x 80, (2009)

ARGENTINE MINISTRY OF JUSTICE AND HUMAN RIGHTS (Buenos Aires, Argentina) Acquired in the Art Collection "Matite spezzate"" - Oli and acrylic on canvas, cm 70 x 50, (2012)

MINISTERO ARGENTINO DI GIUSTIZIA E DEI DIRITTI UMANI (Buenos Aires, Argentina) Acquisita nella Collezione d'Arte l'opera intitolata "Matite spezzate"" - Olio e acrilico su tela, cm 70 x 50, (2012)

MAMBO - MUSEUM OF MODERN ART BOLOGNA (Bologna, Italy)
Acquired for the Permanent Collection
“Lotus flower” Oil and karkadè on canvas, 60x60cm (2008)

MAMBO - MUSEO D'ARTE MODERNA DI BOLOGNA (Bologna, Italia)
Acquisizione per la Collezione Permanente del dipinto
“Fior di Loto” Olio e karkadè su tela, 60x60cm (2008)

RINALDI-PALADINO ART MUSEUM FOUNDATION (Lugano - Switzerland)
Acquired for the Permanent Collection
“Strange perceptions” Oil and coffee on canvas, 70x50cm (2008)

RINALDI-PALADINO ART MUSEUM FOUNDATION (Lugano - Svizzera)
Acquisizione per la Collezione Permanente del dipinto
“Strane percezioni” Olio e caffè su tela, 70x50cm (2008)

MACIA - ITALIAN CONTEMPORARY ART MUSEUM IN AMERICA (San Jose - Costa Rica)
Acquired for the Permanent Collection
“Childhood Games” Oil and karkadé on canvas, 60x40cm (2008)

MACIA - MUSEO DI ARTE CONTEMPORANEA ITALIANA IN AMERICA
Acquisizione nella Collezione Permanente del dipinto
“Giochi d'infanzia” Olio e karkadè su tela, 60x40cm (2008)

MUSEION - Museum of modern and contemporary art Bolzano - Italy
Acquired for the Permanent Collection “Primitive instinct II” Olio and hennè and cacao and acrylic on canvas, cm 40 x 30, (2009)

MUSEION - Museo d'arte moderna e contemporanea di Bolzano - Italia
Acquisizione nella Collezione Permanente del dipinto
“Istinto primitivo II” Olio e hennè e cacao e acrilico su tela, cm 40 x 30, (2009)

ITALIAN EMBASSY IN NEW ZEALAND for the new ITALIAN CONTEMPORARY ART MUSEUM (Wellington - New Zealand)
Acquired for the Permanent Collection
“The Two souls” Oil and cacao and karkadé on canvas, 50x50cm (2008)

AMBASCIATA D’ITALIA IN NUOVA ZELANDA per il costituendo MUSEO DI ARTE CONTEMPORANEA ITALIANA (Wellington - Nuova Zelanda)
Acquisizione nella Collezione Permanente del dipinto
“Le due anime” Olio e cacao e karkadè su tela, 50x50cm (2008)

AMEDEO MODIGLIANI MUSEUM (Follonica - Italy)
Acquired for the Permanent Collection “Cycle of life” Mixed technique on wood, 65x100cm (2005)

PINACOTECA AMEDEO MODIGLIANI (Follonica - Italia)
Acquisizione nella Collezione Permanente del dipinto
“Il ciclo della vita” Tecnica mista su legno, 65x100cm (2005)

F. P. MICHETTI MUSEUM (Francavilla al Mare - Italy)
Acquired for the Permanent Collection
“The 3 theses” Oil and acrylic and hennè on canvas, 50x60cm (2009)

MUSEO F. P. MICHETTI (Francavilla al Mare - Italy)
Acquisizione nella Collezione Permanente del dipinto
“Le 3 tesi” Olio e acrilico e hennè su tela, 50x60cm (2009)

SILVESTRO LEGA MUSEUM (Modigliana - Italy)
Acquired for the Permanent Collection
“Boy and Lizard” Oil and coffee and acrylic on canvas, 30x20cm (2007)

PINACOTECA SILVESTRO LEGA (Modigliana - Italia)
Acquisizione nella Collezione Permanente del dipinto
“Il bimbo e la lucertola” Olio e caffè e acrilico su tela, 30x20cm (2007)

SPELEOLOGICAL MUSEUM "FRANCO ANELLI" (Grotte di Castellana - Italy)
Acquired for the Private Collection
“Caccia VI” Oil and hennè and acrylic on canvas, 80x100cm (2010)

MUSEO SPELEOLOGICO "FRANCO ANELLI" (Grotte di Castellana - Italy)
Acquisizione nella Collezione Privata del dipinto
“Caccia VI” Olio e hennè e acrilico su tela, 80x100cm (2010)

CONTEMPORARY ART MUSEUM - LOGUDORO MEILOGU NATIONAL FOUNDATION (Banari - Italy)
Acquired in the Art Collection
“The door to Paradise” Oil and coffee on canvas, 50x50cm (2008)

MUSEO DI ARTE CONTEMPORANEA - FONDAZIONE NAZIONALE LOGUDORO MEILOGU (Banari - Italia)
Acquisizione nella Collezione d'Arte del dipinto
“La porta del Paradiso” Olio e caffè su tela, 50x50cm (2008)

FACCHINI COLLECTION - LA FENICE ET DES ARTISTES (Venezia - Italy)
Acquired for the Private Collection
“Opposing Theses” Oil and coffee on canvas, 40x40cm (2008)

COLLEZIONE FACCHINI - LA FENICE ET DES ARTISTES - (Venezia - Italia)
Acquisizione nella Collezione Privata del dipinto
“Tesi opposte” Olio e caffè su tela, 40x40cm (2008)

ITALIAN EMBASSY IN CHINA (Beijing - China)
Acquired for the Private Collection
“Dawn in Beijing” Oil on canvas, 20x30cm (2008)

AMBASCIATA D’ITALIA IN CINA (Pechino - Cina)
Acquisizione nella Collezione Privata del dipinto
“L’alba di Pechino” Olio su tela, 20x30cm (2008)

EUROPEAN INSTITUTE PEGASO (Foggia – Italia)
Acquired for the Private collection
“Toucan in Love” - Oil and cacao on canvas, 60x50cm (2009)

ISTITUTO EUROPEO PEGASO (Foggia – Italia)
Acquisizione nella Collezione Privata del dipinto
“Il tucano in Amore” Olio e cacao su tela, cm 60 x 50 (2009)



Aktivitäten / Ausstellungen:
Nel libro di Andrea Benetti sul tema della velocità hanno scritto 12 professori universitari

"Esplorazione inconsueta all’interno della velocità"

L’opera editoriale realizzata da Andrea Benetti, intitolata “Esplorazione inconsueta all’interno della velocità” è pubblicata e promossa dal Museo di Arte Contemporanea Italiana in America (San José, Costa Rica), per celebrare l’operato pittorico di Andrea Benetti e promuovere i contenuti della sua ricerca, sul tema della “Velocità”.
A suggellare il profilo internazionale della pubblicazione vi è il patrocinio dell’Istituto Italo-Latino Americano (I.I.L.A.), organismo internazionale, che tra i propri incarichi vanta quello di Osservatore Permanente presso l’Assemblea Generale delle Nazioni Unite. Fanno parte dell’I.I.L.A. la Repubblica Italiana e le venti Repubbliche dell’America Latina, tra cui Argentina, Bolivia, Brasile, Cile, Colombia, Costa Rica, Cuba, Ecuador, El Salvador, Guatemala, Haiti, Honduras, Messico, Nicaragua, Panama, Paraguay, Perù, Repubblica Dominicana, Uruguay e Repubblica Bolivariana del Venezuela.
L’iniziativa editoriale del Museo d’Arte Contemporanea Italiana in America ha riscosso la sentita ed ufficiale partecipazione del Signor Presidente della Repubblica di Costa Rica, Oscar Arias Sanchez, premio Nobel per la Pace nel 1987.
Hanno inoltre patrocinato l\\\'opera editoriale di Andrea Benetti la Fondazione ed il Museo Michetti, l\\\'Associazione Culturale della Johns Hopkins University, l\\\'Istituto Europeo \\\"Pegaso\\\", l\\\'Associazione Culturale \\\"Viedimezzo\\\" e l\\\'Associazione Culturale \\\"Logo Comune\\\" .

La parte critica del libro, sull’operato pittorico di Andrea Benetti, è curata da:

Prof. Christian Parisot
Presidente dell\\\'Amedeo Modigliani Institute Archives Legales – Roma-Paris

Gregorio Rossi
Curatore del Museo di Arte Contemporanea Italiana in America
Curatore del padiglione \\\"Natura e sogni\\\" - 53° edizione della Biennale d\\\'Arte di Venezia

Chiara Filippini
Ricercatrice dell\\\'Amedeo Modigliani Institute Archives Legales – Roma-Paris
Curatrice del Centro Documentazione e Ricerca Amedeo Modigliani

Roberto Sabatelli
Direttore della Pinacoteca Amedeo Modigliani

Hanno scritto una riflessione sull\\\'influenza della velocità nella loro materia:

Professor Kenneth H. Keller
Direttore e professore della Johns Hopkins University - School of Advanced International Studies - Bologna

Professor Gianfranco Pasquino
Ordinario di \\\"Scienze politiche\\\" - Dipartimento di Scienze politiche - Università degli Studi di Bologna - Johns Hopkins University

Professor Fabrizio Politi
Preside della Facoltà di Economia - Ordinario di \\\"Diritto costituzionale\\\" - Università degli Studi dell\\\'Aquila

Professor Gaetano Bonetta
Preside della facoltà di Scienza della Formazione - Ordinario di \\\"Pedagogia generale\\\"
Università degli Studi \\\"G. D\\\'Annunzio\\\" di Chieti e Pescara

Professor Raffaele Bugiardini
Ordinario di \\\"Malattie dell\\\'apparato cardiovascolare\\\" - Facoltà di Medicina e Chirurgia - Università degli Studi di Bologna

Professor Pierluigi Giordani
già Ordinario di \\\"Urbanistica\\\" - Dipartimento di architettura urbanistica e rilevamento - Università degli Studi di Padova

Professor Silvio Bergia
già Ordinario nel raggruppamento disciplinare di \\\"Fisica teorica\\\" - Dipartimento di Fisica - Università degli Studi di Bologna

Professor Mauro Catenacci
Ordinario di \\\"Diritto penale\\\" - Facoltà di Giurisprudenza - Università degli Studi di Teramo

Professor Gianluca Tagliamonte
Professore di \\\"Etruscologia e antichità italiche\\\" - Dipartimento dei beni culturali - Università del Salento - Lecce

Professor Francesco Romeo
Professore di \\\"Filosofia del Diritto\\\" - Dipartimento di Scienze giuridiche - Università degli Studi “G. D\\\'Annunzio” di Chieti e Pescara

Andrea Benetti: the Neo Cave Panting

Andrea Benetti’s “Neo Cave Art” is not painted on rocks nor on rocky cave walls: it is painted on canvas. So don’t expect an artist with roughened, callused hands, armed with hammer and chisel, sweating and covered with chips and dust. At worst, you might catch him with a few spots of oil, or splashed with henné or paint.
So “Neo Cave Art” is a sort of fiction, the kind in which– to paraphrase Gorgia – those who let themselves be fooled are all the wiser.
Benetti’s painting invites us to take a trip backwards in time: a sort of regressus ad uterum to help us rediscover our relationship and harmonic balance with Nature, that which the false idols of progress-as-an-end-in-itself have altered and are forcing us to lose contact with.
The “cliff wall” where Benetti leaves his marks and colors, is actually a false cliff, that reminds us of our longing for stability and certainty, for the undying strength of the message it carries; the idea that before the transient stands the unchangeable and before the sacred stands the secular.
Cave painting was a magical act that took place inside a cavern; the artist-priest took part in the ritual perhaps alongside the tribal chiefs: the non-holy were left outside, “out front”, precisely.
The mark they made, a carved and painted groove was the ritual, called upon each time and in every vision to recreate a symbolic and spiritual universe. That is what any observer of Benetti’s painting must do: retreat into their own cave, penetrate the symbolism of the imagery in order to gain access to the archetype for which the glyph is but mere formal expression.
In constructing this intricate web of references and allusions (which no artist can reveal completely: mystery is by its own nature an inexplicable and intimate secret), Benetti means to restore to the images the strength of prayer. Not prayer to the gods; a layman’s prayer that embodies the purest sentiment of the heart with the same evocative force of the images.
So, even the “modern” forms, (cars, golf players, kites and sailboats), are treated the same as natural forms (flowers, fish, the universe or horses). All of them become tormented visions that come to life and thrive within the “natural” background of the junctures of the “rocks”.

Dario Scarfì
Siracusa Municipality – Department of Cultural Policy and UNESCO
Coordinator “Sicily” Pavilion – 54th Venice Biennale


-- Video --
Andrea Benetti - VR60768 · anthropomorphic figure
Medien
Videokunst
2015
verkauft
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-- Video --
COLLEZIONE D'ARTE DEL QUIRINALE: ACQUISITA OPERA


2012
unverkäuflich
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-- Video --
ANDREA BENETTI - La pittura Neorupestre
Medien
Videokunst
2011
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-- Video --
preHISTORIA CONTEMPORANEA di ANDREA BENETTI
Medien
Videokunst
2016
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-- Video --
ANDREA BENETTI - SIGNUM CRUCIS
Medien
Videokunst
2015
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-- Video --
Andrea Benetti nella Collezione di Montecitorio
Medien
Videokunst
2013
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-- Video --
Andrea Benetti nella Collezione Argentina
Medien
Videokunst
2013
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-- Video --
Lezione di Andrea Benetti all'Università Roma 3
Medien
Videokunst
2012
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-- Video --
Andrea Benetti nelle Collezioni Vaticane
Medien
Videokunst
2012
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-- Video --
I disegni di Andrea Benetti a Roma
Medien
Videokunst
2012
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-- Video --
Il simbolismo nella pittura Neorupestre
Medien
Videokunst
2012
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-- Video --
PITTURA ARTE CONTEMPORANEA ITALIANA Andrea Benetti
Medien
Videokunst
2011
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-- Video --
ARTE PITTURA CONTEMPORANEA ITALIANA – Unisalento


2011
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-- Video --
ANDREA BENETTI AL 61° PREMIO MICHETTI


2010
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-- Video --
Arte Contemporanea . Andrea Benetti


2011
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-- Video --
Andrea Benetti nella Collezione d\'Arte dell\'ONU


2010
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-- Video --
“PORTRAITS D\'ARTISTES” - ANDREA BENETTI


2010
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La mia fanciullezza
Malerei
Ölmalerei
70 x 50 x 2 cm
2009
unverkäuflich
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Diversità
Malerei
Ölmalerei
70 x 50 x 2 cm
2009
unverkäuflich
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Esilio
Malerei
Ölmalerei
50 x 70 x 2 cm
2009
unverkäuflich
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La vela e il mare
Malerei
Ölmalerei
55 x 45 x 2 cm
2009
unverkäuflich
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Amore a prima vista
Malerei
Ölmalerei
70 x 50 x 2 cm
2009
unverkäuflich
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Verso l'infinito
Malerei
Ölmalerei
50 x 50 x 2 cm
2009
unverkäuflich
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GIOCHI D'INFANZIA
Malerei
Ölmalerei
40 x 60 x 2 cm
2008
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Salvaguardia ambientale
Malerei
Ölmalerei
70 x 50 x 2 cm
2009
unverkäuflich
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La civetta allegra
Malerei
Ölmalerei
50 x 50 x 2 cm
2008
unverkäuflich
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Il rettile
Malerei
Ölmalerei
50 x 60 x 2 cm
2009
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Le 3 tesi
Malerei
Ölmalerei
60 x 50 x 2 cm
2009
unverkäuflich
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Alienazione
Malerei
Ölmalerei
64 x 64 x 2 cm
2009
unverkäuflich
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STRANE PERCEZIONI
Malerei
Ölmalerei
50 x 70 cm
2008
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Omaggio a Bologna
Malerei
Ölmalerei
70 x 50 x 2 cm
2009
unverkäuflich
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LE DUE ANIME
Malerei
Ölmalerei
50 x 50 cm
2008
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Scena di caccia
Malerei
Ölmalerei
80 x 40 x 2 cm
2009
unverkäuflich
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Percorsi
Malerei
Ölmalerei
50 x 70 x 2 cm
2009
unverkäuflich
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Salto nel passato
Malerei
Ölmalerei
50 x 50 x 2 cm
2008
unverkäuflich
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Incontro fortunato
Malerei
Ölmalerei
70 x 50 x 2 cm
2009
unverkäuflich
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Le 7 meraviglie
Malerei
Ölmalerei
35 x 50 x 2 cm
2009
unverkäuflich
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TESI OPPOSTE
Malerei
Ölmalerei
40 x 40 cm
2008
verkauft
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Volo sincronizzato
Malerei
Ölmalerei
90 x 30 x 2 cm
2009
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Sogni ancestrali
Malerei
Ölmalerei
50 x 100 x 2 cm
2009
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La solitudine
Malerei
Ölmalerei
50 x 50 x 2 cm
2008
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Intuizione notturna
Malerei
Ölmalerei
70 x 50 x 2 cm
2009
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La tavolozza
Malerei
Ölmalerei
40 x 80 x 2 cm
2008
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LA PORTA DEL PARADISO
Malerei
Ölmalerei
50 x 50 cm
2008
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Mezzi di trasporto
Malerei
Ölmalerei
120 x 30 x 2 cm
2009
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Il balenottero azzurro
Malerei
Ölmalerei
40 x 40 x 2 cm
2009
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Omaggio all'Abate Breuil
Malerei
Ölmalerei
40 x 80 x 2 cm
2009
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Il rospo elettronico
Malerei
Ölmalerei
45 x 65 x 2 cm
2009
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Presagio
Malerei
Ölmalerei
50 x 70 x 2 cm
2009
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Il rinoceronte e le due aquile
Malerei
Ölmalerei
50 x 50 x 2 cm
2009
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Il decollo
Malerei
Ölmalerei
20 x 30 x 1 cm
2008
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Il tucano in Amore
Malerei
Ölmalerei
50 x 60 x 2 cm
2009
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I gemelli
Malerei
Ölmalerei
18 x 13 x 1 cm
2008
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La mosca azzuzza
Malerei
Ölmalerei
18 x 13 x 1 cm
2008
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Fiori onirici
Malerei
Ölmalerei
50 x 70 x 3 cm
2009
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La stella della Fortuna
Malerei
Ölmalerei
40 x 40 x 3 cm
2008
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La girandola
Malerei
Ölmalerei
40 x 50 x 2 cm
2008
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IL BIMBO E LA LUCERTOLA
Malerei
Ölmalerei
20 x 30 cm
2007
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Il crocevia
Malerei
Ölmalerei
40 x 60 x 2 cm
2008
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Fondali marini
Malerei
Ölmalerei
40 x 60 x 2 cm
2008
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L'ALBA DI PECHINO
Malerei
Ölmalerei
30 x 20 cm
2008
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-- Video --
Andrea Benetti: 11 september 2001 - In Memory


2007
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-- Video --
ANDREA BENETTI at Museum delle Genti


2007
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-- Video --
ANDREA BENETTI at Johns Hopkins University


2008
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-- Video --
ANDREA BENETTI: NEW YORK 848


2006
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