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拍品专文
A surface of sumptuous red has been punctured with three elegant, curving slashes in Concetto spaziale, Attese, one of the most perfect expressions of Lucio Fontana's Tagli, or 'cuts'. The three incisions in the red appear in a form of progression, the one on the left smaller than the others. While the cuts are all at an angle, they nonetheless reveal a focus on symmetry, on balance, revealing the extent to which Fontana was concerned with composition in these works. That interest in composition is accentuated by the intimate scale of Concetto spaziale, Attese: the epic sweep of the slashes is here given a concentrated emphasis within the gem-like boundaries of the red canvas.
Fontana created Concetto spaziale, Attese in 1960, during a time when Man had finally managed to send satellites to Space. This was the culmination of the Space Age which Fontana had already heralded from the 1940s onwards. When the USSR had sent Sputnik beyond the orbit of the Earth, Fontana had begun to create the slashes, the Attese. This had been in part a contrast to the massy materialism of his earlier works: monochrome backgrounds of water-paint increasingly provided an arena for Fontana's slashes. However, already by the time Concetto spaziale, Attese was made, Fontana's work appeared as a sort of dichotomy: on the one hand, he was creating these elegant, rapturous pictures in which exaltant slashes arced up the canvas; on the other, he was also exploring materiality in an even more intense manner than before, not least in his celebrated series of sculptures, the Nature. These were rough, often globule-like forms, many of them spherical, which featured holes within their textured mass. While the theme of the space eked out by the artist himself was common between the Nature and Concetto spaziale, Attese, the contrast is nonetheless extreme: the visceral earthiness of the Nature is undercut by the sheer serenity of the bending strips of space against their red backdrop.
Fontana created Concetto spaziale, Attese in 1960, during a time when Man had finally managed to send satellites to Space. This was the culmination of the Space Age which Fontana had already heralded from the 1940s onwards. When the USSR had sent Sputnik beyond the orbit of the Earth, Fontana had begun to create the slashes, the Attese. This had been in part a contrast to the massy materialism of his earlier works: monochrome backgrounds of water-paint increasingly provided an arena for Fontana's slashes. However, already by the time Concetto spaziale, Attese was made, Fontana's work appeared as a sort of dichotomy: on the one hand, he was creating these elegant, rapturous pictures in which exaltant slashes arced up the canvas; on the other, he was also exploring materiality in an even more intense manner than before, not least in his celebrated series of sculptures, the Nature. These were rough, often globule-like forms, many of them spherical, which featured holes within their textured mass. While the theme of the space eked out by the artist himself was common between the Nature and Concetto spaziale, Attese, the contrast is nonetheless extreme: the visceral earthiness of the Nature is undercut by the sheer serenity of the bending strips of space against their red backdrop.