Concetto spaziale

細節

Lucio Fontana (1899-1968)
Concetto spaziale
signed and dated 'l.fontana 55' (lower right); signed, dated and titled 'l.fontana Concetto spaziale 1955' (on the reverse)
oil and glitter on canvas
31½ x 23½ in. (80 x 59.7 cm.)
Executed in 1955

來源

Galleria de Nieubourg, Milan.
Private collection, Milan.
Acquired from the above by the present owners circa 1967.

出版

E. Crispolti, Lucio Fontana, Catalogue raisonné des peintures, sculptures et environnements spatiaux, vol. II, Brussels, 1974, no. 55 BA 4 (illustrated p. 47).
E. Crispolti, Lucio Fontana, Catalogo generale, vol. I, Milan, 1986, no. 55 BA 4 (illustrated p. 166).

展覽

Milan, Galleria de Nieubourg, Presenza di Lucio Fontana, October-November 1968.

注意事項

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拍品專文

Executed in 1955, Concetto spaziale fuses elements from various stages of Fontana's career. While the Buchi which he had only recently developed and which would pave the way for his further artistic developments feature prominently, there is a materiality to this painting that recalls his earlier ceramic works. His pre-War adventures in terracotta and other such media appear to be echoed in the thick plasticity of the daubs of paint that articulate Concetto spaziale's surface so much. Likewise, this is not a monochrome work, but instead is covered in mysterious patterns which on the one hand resemble strange and incomprehensible blueprints, and on the other hand has a distinctly whimsical feel, a mesh of Spatialist curlicues. They are also reminiscent of aerial photography, which had been seen increasingly during the Second World War, and which emphasised in Fontana's Spatialism the fact that humans had managed to detach themselves from the Earth, to see the ground from above, taking pictures from planes and rockets. This was the introduction of a new dimension in Man's view of the world, and as such was seen to be packed with potential, changing our understanding of our existence itself. At the same time, these strange, semi-figurative patterns in Concetto spaziale recall the actual almost ritualistic methods with which Fontana would pierce his canvas. Here, in this strange calligraphy, Fontana has created a painting in which he evokes the mystery of his art.
In Concetto spaziale, Fontana masterfully explores the contrast between its surface and the holes. These are two extremes - the various textures on the canvas create a ripe and rippling sensuality, accentuated by the earthy background, while the holes are tiny voids, patches in which there is nothing, in which material has been abandoned. The contrast between the holes and the surface achieves a rich effect within the scope of the baroque work, while the holes themselves mark Fontana's achievement of a true Spatialist style he has created space within the canvas.