Concetto spaziale, Attese

細節

Lucio Fontana (1899-1968)
Concetto spaziale, Attese
signed and dated 'l.fontana 59' (on the reverse)
ink on canvas laid down on card
39 5/8 x 39 5/8in. (100 x 100cm.)
Executed in 1959

來源

Marlborough Galleria d'Arte, Rome (L1688).
Private Collection, Perugia.
Amedeo Porro, Arte Moderna e Contemporanea, Milan.

出版

E. Crispolti, Omaggio a Fontana, Assisi and Rome, 1971, no. 186 (illustrated p. 177).
E. Crispolti, Lucio Fontana, Catalogue raisonné des peintures, sculptures et environnements spatiaux, vol. II, Brussels, 1974, 58 CA 12 (illustrated p. 79).
E. Crispolti, Fontana, Catalogo generale, vol. I, Milan, 1986, 58 CA 12 (illustrated p. 271).

展覽

L'Aquila, Castello cinquecentesco, Aspetti dell'arte contemporanea, omaggio a Cagli, omaggio a Fontana, omaggio a Quaroni, July-September 1963, no. 156 (illustrated p. 80).
Milan, Amedeo Porro arte moderna e contemporanea, Carriera barocca di Fontana, November 2004-January 2005 (illustrated in colour p. 406). This exhibition later travelled to London, Ben Brown Fine Art, Lucio Fontana: Paintings, Sculptures and Drawings, February-May 2005 (illustrated in colour p. 56).

注意事項

No VAT will be charged on the hammer price, but VAT at 17.5% will be added to the buyer's premium, which is invoiced on a VAT inclusive basis.

拍品專文

Concetto spaziale dates from the very birth of Fontana's celebrated slashes. It was in his works on paper that Fontana had made his very first pioneering journey through the two-dimensional surface of the pictorial plane in the late 1940s. Likewise, even before his discovery of the potential of the hole, he had explored space and early concepts of Spatialism on paper, even during the 1930s. Then in 1957, the holes that had featured in his canvases and on paper began to evolve into slashes. Concetto spaziale is one of the earliest works that truly reveal the codification of this visual idiom. The flock of parallel slashes that stretches across the surface speaks of an artistic order that was still incredibly new to Fontana, but which would be honed over the rest of his life, and which only now would begin to feature in the Attese on canvas.

Paper had remained important as a medium to Fontana throughout his Spatial adventure, partly because it allowed a great flexibility regarding the punctures, and partly because of the translucence of the colours (he appears to have intended to recreate this effect to some extent on canvas through his use of waterpaint). Fontana has pierced the shimmering, mirage-like pink surface, puncturing the veil of reality and ushering in a new concept of Space and Spatialism.