Concetto spaziale, Attesa

細節

Lucio Fontana (1899-1968)
Concetto spaziale, Attesa
signed, titled, dedicated and dated 'l. fontana Concetto spaziale ATTESA 1959 A Amanda suo padrino Lucio' (on the reverse)
waterpaint and velvet collage on canvas
39 3/8 x 31½in. (100 x 80cm.)
Executed in 1959

來源

Amanda Reggiori d'Angelo, Milan.
Studio Casoli, Milan.
Acquired from the above by the present owner in 2000.

出版

G. Ballo, Fontana: idea per un ritratto, Turin 1970, fig. 259 (illustrated, p. 219).
E. Crispolti, Lucio Fontana catalogue raisonné, vol. II, Brussels 1974, no. 59 T 92 (illustrated, p. 87).
E. Crispolti, Lucio Fontana catalogo generale, vol. I, Milan 1986, no. 59 T 92 (illustrated, p. 259).
S. Bartolini, 'Il Buco con l'arte Intorno', in Il Borghese, no. 47, November 1998, Rome (illustrated, pp. 14-17).
R. Barilli, 'Se il Taglio è in Rigore', in Correrie della Sera, 2 November 1998, Rome (illustrated, p. 27).
E. Crispolti, Lucio Fontana Catalogo ragionato di sculture, dipinti, ambientazioni, vol. I, Milan 2006, no. 59 T 92 (illustrated, p. 462).

展覽

Bologna, Galleria Comunale d'Arte Moderna, L'informale in Italia. Mostra dedicata a Francesco Arcangeli, June-September 1983, no. 15 (illustrated in colour, pp. 149 and 303).
Lugano, Villa Malpensata, Fontana e lo Spazialismo, September-November 1987 (illustrated, p. 131).
Sondrio, Palazzo Sertoli, Arte a Milano 1946-1959. Il Movimento Spaziale, October-November 1998 (illustrated in colour, pp. 34 and 109). This exhibition later travelled to Milan, Galleria Gruppo Credito Valtellinese, Refettorio delle Stelline, June-July 1999.

注意事項

No VAT will be charged on the hammer price, but VAT at 15% will be added to the buyer's premium which is invoiced on a VAT inclusive basis.

拍品專文

Concise and yet intensely lyrical, Concetto spaziale, Attesa is a rare multimedia work from Fontana's so-called Tagli series-- the cuts. The smooth cut of the razor incision finds its counterpoint in the velvet which bisects the canvas. Meanwhile, as a tiny apostrophe, a flash of colour on the silver background, is a lone glass 'stone'. With this contrast between space, glass and velvet, Fontana introduces an intriguing play of textures and contrasts, each element emphasising the qualities of the other. Concetto spaziale, Attesa prefigures the baroque character of Fontana's Venice pictures, created in 1961, yet is marked by a distinctive and restrained, spare poetry that appears to owe much to some of the early works of the Spanish artist Joan Miró.
The contrast of textures on the surface of Concetto spaziale, Attesa is also heightened by the silver background, which itself adds to the play of space that lies at the crux of Fontana's work. This silver has the metallic sheen of the hi-tech world of space travel, while also hinting at the mirror-like qualities that introduce a hint of infinity within the surface, as well as in the slash that opens up the infinite space behind it. And the silver, reflecting albeit in an opaque manner, the world of the viewer before Concetto spaziale, Attesa, means that the light changes as the world in front of the picture shifts. The viewer becomes involved in the shifting light effects which are themselves such an important part of Fontana's Spatialism.

Adding an intimate character to the gentle poetry and unique status of Concetto spaziale, Attesa, it is intriguing to note that this work bears a dedication on the reverse from Fontana to his goddaughter, who was its first owner.