.jpg?w=1)
Lot Essay
Eseguito nel 1952, Concetto spaziale combina alcune delle espressioni che Lucio Fontana stava esplorando contemporaneamente in quel momento cruciale della sua carriera artistica. Dopo aver iniziato con i buchi nel 1949, che videro l’artista trafiggere prima la carta e poi la tela, intraprese un periodo di febbrile esplorazione creativa. In quest’opera l’artista ha legato la scoperta del buco con una miriade di linee e costellazioni dal colore vibrante, quale probabile conseguenza di un’altra serie a cui aveva dato inizio, le pietre. Questo ciclo, iniziato da Fontana nel 1951, vedeva l’artista apporre sulla superficie della tela forata pezzi di vetro dai colori vivaci, in questo modo integrava nei suoi “concetti spaziali” sia il colore sia la luce. Come si verificò in relazione a tutte le sue serie, e quindi per i buchi, i tagli e la Fine di Dio, Fontana ne concepì il concetto principale sotto forma di disegni, pratica che gli permise di chiarire le sue idee prima di perfezionarle sulla tela. Con la sua superficie riccamente materica, definita sia da drammatiche forature, tagli e buchi, sia da gocce impastate, linee gestuali e macchie di colore morbidamente sfocate, quest’opera è particolarmente rara per la sua pienezza e per l’uso audace e astratto del colore. Spazio, colore, luce e linea si fondono in un’unione trionfale, ed emerge una visione caleidoscopica dei tratti essenziali della pratica artistica di Fontana.
Executed in 1952, Concetto spaziale combines a number of the concurrent practices which Lucio Fontana was exploring at this pivotal moment of his career. Having begun the buchi or ‘holes’ in 1949, which saw the artist pierce through first card and subsequently the canvas itself, Fontana embarked upon a period of feverish creative exploration. In the present work, the artist has combined his discovery of the hole with myriad lines and constellation-like passages of vibrant colour, a reflection perhaps of another series that he had begun at this time, the pietre, ‘stones’. This cycle, which Fontana had commenced in 1951, saw the artist affix pieces of brightly coloured glass to the surface of the hole-strewn canvas, integrating both colour and light into his ‘Spatial concepts’. As with all of his various cycles, the buchi, tagli and Fine di Dio included, Fontana often conceived the essential concept of the series first in the form of drawings, this practice allowing him to elucidate his ideas before refining them on canvas. With its richly textured surface, defined both by dramatic punctures, cuts and holes, as well as the impastoed drops, gestural lines and softly blurred patches of colour, the present work is particularly rare in its fullness and in its bold, abstract use of colour. Here space, colour, light and line are brought together in a triumphant union, a kaleidoscopic vision of the essential components of Fontana’s practice.
Executed in 1952, Concetto spaziale combines a number of the concurrent practices which Lucio Fontana was exploring at this pivotal moment of his career. Having begun the buchi or ‘holes’ in 1949, which saw the artist pierce through first card and subsequently the canvas itself, Fontana embarked upon a period of feverish creative exploration. In the present work, the artist has combined his discovery of the hole with myriad lines and constellation-like passages of vibrant colour, a reflection perhaps of another series that he had begun at this time, the pietre, ‘stones’. This cycle, which Fontana had commenced in 1951, saw the artist affix pieces of brightly coloured glass to the surface of the hole-strewn canvas, integrating both colour and light into his ‘Spatial concepts’. As with all of his various cycles, the buchi, tagli and Fine di Dio included, Fontana often conceived the essential concept of the series first in the form of drawings, this practice allowing him to elucidate his ideas before refining them on canvas. With its richly textured surface, defined both by dramatic punctures, cuts and holes, as well as the impastoed drops, gestural lines and softly blurred patches of colour, the present work is particularly rare in its fullness and in its bold, abstract use of colour. Here space, colour, light and line are brought together in a triumphant union, a kaleidoscopic vision of the essential components of Fontana’s practice.