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    Sale 11798

    Post-War and Contemporary Art Day Auction

    30 June 2016, London, King Street

  • Lot 188

    LUCIO FONTANA (1899-1968)

    Concetto spaziale, Attesa

    Price Realised  

    Estimate

    LUCIO FONTANA (1899-1968)
    Concetto spaziale, Attesa
    signed, titled and inscribed 'l. Fontana "C. Spaziale" ATTESA fa freddo in inverno' (on the reverse)
    waterpaint on canvas
    13¼ x 9 5/8in. (33.6 x 24.3cm.)
    Executed in 1964


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    ‘My cuts are above all a philosophical statement, an act of faith in the infinite, an affirmation of spirituality. When I sit down to contemplate one of my cuts, I sense all at once an enlargement of the spirit, I feel like a man freed from the shackles of matter, a man at one with the immensity of the present and of the future’ (L. Fontana quoted in L. M. Barbero, ‘Lucio Fontana: Venice/New York’ in L. M. Barbero (ed.), Lucio Fontana: Venice/New York, exh. cat., New York, 2006, p. 23).

    With its perfectly-articulated slash penetrating the deep red surface of the canvas, Lucio Fontana’s Concetto spaziale, Attese of 1964 is a sumptuous example of his tagli or ‘cuts’. Piercing the very fibre of the canvas to reveal the uncharted void beyond, these works represent the most important realisation of Fontana’s ground-breaking Spatialist theories. Inspired by the scientific advances of the Space Age, Fontana sought to create a revolutionary art form equipped to translate the newly-discovered dimensions of the cosmos. By incising the canvas with a near-balletic series of calligraphic gestures, the artist gave birth to a visual language rooted in space, movement, time and energy: elements whose properties had been wholly redefined by man’s exploration of the universe. Fascinated by the astronomical discoveries that had shown the potential infinity of the cosmos, Fontana felt it essential to find an art that could explore these limitless possibilities, writing in 1948, ‘We refuse to believe that science and art are two separate things, in other words, that the gestures made by one of the two activities do not also belong to the other. Artists anticipate scientific gestures, scientific gestures always lead to artistic gestures’ (L. Fontana, Second Manifesto of Spatialism, 1948-1949, reproduced in R. Miracco, Lucio Fontana: At the Roots of Spatialism, exh. cat., Estorick Collection of Modern Art, London 2007, p. 37). With this iconoclastic gesture, Fontana captures a moment in eternity, transforming the two-dimensions of painting into a potentially infinite space.

    Responding to the advent of space travel and the extraordinary scientific advances that shook the twentieth-century, Fontana sought transcendent new directions within his practice that could adequately express the ways in which mankind had come to perceive their place in the universe. Published in 1947 by Fontana and other avant-garde artists in Buenos Aires, the Manifesto Blanco outlined a new ideology known as Spatialism, which called for ‘the development of an art based on the unity of time and space’ (Manifesto Blanco, 1946, reproduced in R. Fuchs, Lucio Fontana: La cultura dell’occhio, exh. cat., Castello di Rivoli, Rivoli, 1986, p. 80). Piercing the canvas, initially with his series of bucchi, or holes, and subsequently through his tagli, Fontana discovered an elegant solution to his conceptual aims, creating an object that could exist in material space while denoting the immateriality of the seemingly endless void beyond. ‘I make holes, infinity passes through them, light passes through them’, the artist explained; ‘there is no need to paint’ (L. Fontana, quoted in E. Crispolti, ‘Spatialism and Informel. The Fifties’, in Lucio Fontana, exh. cat., Palazzo delle Esposizioni, Milan, 1998, p. 146).

    Special Notice

    Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent.


    Provenance

    Galerie Mathias Fels, Paris.
    Galerie Leger, Malmö.
    Jysk Kunstgalleri, Copenhagen.
    Acquired from the above by the present owner in 1968.


    Literature

    E. Crispolti, Lucio Fontana catalogo ragionato di sculture, dipinti, ambientazioni, vol. II, Milan 2006, no. 64 T 167 (illustrated, p. 731).