Spatial Concept 'Waiting', Fontana, Lucio, 1960, Canvas. Artist/Maker Lucio Fontana, Italian, born Argentina, 1899 - 1968 Spatial idea, Waiting is one amongst a series of works Fontana created in urban center between 1958 and 1968. The Art of Lucio Fontana From 1949, Lucio Fontana started his Spatial Concept or slash series, a collection of works comprised of holes and slashes on the surface of monochrome paintings. Februar 1899 in Rosario, Argentinien; † 7. Concetto spaziale is a rare trapezoidal canvas from Lucio Fontana’s celebrated Barocchi series, created during the mid-1950s. Lucio Fontana Concetto spaziale (Spatial Concept) Vase, 1953 Terracotta, hight 50 x 30 cm Colection of Luigi Grampa, Busto Arsizio . | Tate Images. These works, that all accommodates a canvas that … I was converted. Photo: Christopher Clem Franken. Available for sale from Gilden's Art Gallery, Lucio Fontana, Spacial Concept | Concetto Spaziale (1965), Original Hand Signed, Numbered and Dated Screenpri… LUCIO-FONTANA-Spatial-Environment-in-Red-Light-1967-.jpg ... From 1949 on he started the so-called Spatial Concept or slash series, consisting in holes or slashes on the surface of monochrome paintings, drawing a sign of what he named "an art for the Space Age". This laid the foundation for his sculpture artworks, which he produced at his Argentinian studio. Leben. Tuesday - Friday 10 am - 6.30 pm Saturday 10 am - 6 pm. Available for sale from Gilden's Art Gallery, Lucio Fontana, Spacial Concept | Concetto Spaziale (1965), Original Hand Signed, Numbered and Dated Screenpri… In the first half of the 1960s, the Argentine–Italian artist Lucio Fontana created Spatial concept (fig. By visiting our website or transacting with us, you agree to this. The cut is decisive and planned, suggesting that it was an act that was carefully considered, rather than a spontaneous, savage movement. While these works immediately conjure acts of violence and iconoclasm, Fontana claimed “I have constructed, not destroyed.”. (Although Spatial Concept was created in 1956, Fontana retrospectively dated this work to 1952, inscribing the year on both the front and back of the canvas) Oil and glitter on canvas . He served as a second lieutenant in WWI, discharged with a silver medal after sustaining an arm injury. Spatial Concept or slash series, which consisted of holes or slashes on the surface of monochrome paintings, drawing a sign of what he named "an art for the Space Age". Textile Art: From Ancient Tapestries to Modern Politics. Art within space.” While living in Buenos Aires between 1940 and 1947, Fontana consorted with many Argentine Concrete artists, such as the Madí group. Galleria Civica di Arte Moderna e Contemporanea Torino Torino, Italy. Lucio Fontana was born in Argentina in 1899, to an Argentinian mother and an Italian father. He would begin with stabbing small holes over a canvas, later creating long, fluid cuts over the painted surface. He stated, “My discovery was the hole and that’s it. Lucio Fontana’s oeuvre is more than just visually alluring and thought-provoking, it brought about a movement that changed the perspective on art pieces. Open in app; Facebook; Tweet; Pinterest; Reddit; Mail; Embed; Permalink ; Concetto spaziale ‘Nature’ door Lucio Fontana, 1959-60. 1 Enrico Crispolti, the author of the catalogue raisonné of Fontana’s work dates this canvas to 1960. He titled these works Concetto spaziale and he used this name for almost all of his later works. Art critic Guido Ballo commented, “The gallery was transformed… [the spectator] did not contemplate a detached form before his eyes, he entered into the pictorial environment.” The artwork encouraged the viewer to become a participant in the installation, rather than just an observer, eliminating the contrast between the artwork and the space surrounding it. If you would like to reproduce an image of a work of art in MoMA’s collection, or an image of a MoMA publication or archival material (including installation views, checklists, and press releases), please contact Art Resource (publication in North America) or Scala Archives (publication in all other geographic locations). He stated that the tagli series would “give the viewer the impression of spatial tranquility, of cosmic rigor, and of infinite serenity.” To achieve the tagli effect, Fontana would slash the fabric while the paint was wet, later giving the cuts more shape by hand, and using black gauze to fill the space behind the cut, implying the infinity of the space. In the late 1940s, Lucio Fontana began puncturing the surface of sheets of paper and canvases in an attempt to blur the distinction between two- and three-dimensionality. 61.5 x 50 cm / 24.2 x 19.6 in. Spatial Concept (Italian - Concetto Spaziale) is a c.1965 painting by the Argentine-Italian painter Lucio Fontana. “We need a new form. A single, clean slash sweeps defiantly through the flaming red surface of Lucio Fontana’s Concetto spaziale, Attesa. Reasoned catalog of works on paper “, by Luca Massimo Barbero, Skira, 2013, p. 982 Authentication of the Lucio Fontana Archive on photography. This exhibition later travelled to Austin, University of Texas Art Museum, February-March 1966. Concetto spaziale (Spatial Concept) One of Fontana's first cycles of works, the buchi (holes) series features the opening of the canvas surface to expose the space behind it. As the father of the spatialism concept, Fontana was at the helm of important developments in the modern art movement. Lucio Fontana is known as the founder of spatialism and for his association with arte povera. sale, Sotheby's London, 29 June 1994, lot 27. Lucio Fontana, der als Begründer des Spatialismus anerkannt ist, war ein produktiver Künstler, der von dem Wunsch getrieben war, die Beziehung zwischen Oberfläche und Dimensionalität hervorzuheben und zu erforschen. Fontana became known for his experimental sculptures, spending time in Paris and learning from artists such as Constantin Brancusi and Joan Miro. Fontana surprised everyone with the calculated gestures of his spatial, well-ordered abstract art. From 1949 on he started the so-called Spatial Concept or slash series, consisting in holes or slashes on the surface of monochrome paintings, drawing a sign of what he named "an art for the Space Age". Spatial Concept: Waiting is also an unpainted canvas, which further demonstrates the stark relationship between the raw surface and the primal nature of the slashing gesture. After setting up his own studio in 1924 he received several important public commissions. Please. Minneapolis, Walker Art Center, Lucio Fontana, the Spatial Concept of Art, January-February 1966, no. The inspiration, Fontana explained in an interview of the same year, had supposedly come from a commission to illustrate the Bible, but instead of ‘visualising old things’, Fontana came up with these new spatial concepts (P. Gottschaller, Lucio Fontana: The Artist’s Materials, Los Angeles, 2012, p. 107). Fontana’s innovative theories prefigured later developments in environmental art, … Aug 31, 2013 - ‘Concept Spatiale’ was created in 1950 by Lucio Fontana in Spatialism style. (60 x 100 cm.) Anon. Lucio Fontana's career was largely influenced by the spatial concept Lucio Fontana - Concept Spatiale (detail), 1958. ... Concetto spaziale (Spatial Concept) (1950) One of Fontana's first cycles of works, the buchi (holes) series features the opening of the canvas surface to expose the space behind it. Fontana implemented this theory in his series Concetto Spaziale (‘spatial concept’), punching holes in the picture plane and slicing through his canvases in order to expose the dimensional space beneath. Read More About: Anne Doran; Gagosian; Lucio Fontana; Most-Read Stories Fontana first introduced perforations within his works in 1949 and referred to these as “spatial concepts.” He then began slashing his canvases in the early 1950s and added the term “Expectations” to the title. Fontana first introduced perforations within his works in 1949 and referred to these as “spatial concepts.” He then began slashing his canvases in the early 1950s and added the term “Expectations” to the title. Art that’s movement. If you would like to reproduce text from a MoMA publication or moma.org, please email [email protected]. The works in Fontana’s Spatial Concepts series—the first of which dates from 1949—have a physical concreteness that is in tune with the anti-idealist mood prevalent in Europe after World War II. This record is a work in progress. Reasoned catalog of works on paper “, by Luca Massimo Barbero, Skira, 2013, p. 982 Authentication of the Lucio Fontana Archive on photography. In 1946, Fontana, alongside a group of students and artists, published the Manifesto Blanco, which discussed the origins of spatialism. He devised the generic title Concetto spaziale ('spatial concept') for … Spatial concept Lucio Fontana 1952. Provenance Grosso Collection, Turin. We use our own and third-party cookies to personalize your experience and the promotions you see. PUBLICATIONS “Lucio Fontana. Lucio Fontana (Rosario di Santa Fé, (Argentinië) 19 februari 1899 – Varese, 7 september 1968) was eenArgentijns-Italiaanse beeldend kunstenaar, bekend als grondlegger van het spatialisme.Zijn werk wordt gerekend tot de conceptuele kunst.. Fontana maakte vooral abstract werk en was een van de eerste kunstenaars die environments vervaardigde. Your email address will not be published. Concetto Spaziale, la Fine di Dio, 1963, oil on canvas, Fondazione Lucio Fontana, courtesy Gagosian Gallery, photography by Robert McKeever. If you notice an error, please contact us at [email protected]. ... (Although Spatial Concept was created in 1956, Fontana retrospectively dated this work to 1952, inscribing the year on both the front and back of the canvas) Oil and glitter on canvas. Lucio Fontana (19 February 1899 – 7 September 1968) was an Argentine-Italian painter, sculptor and theorist. Fontana visited New York in 1961 for a show of his work at the Martha Jackson Gallery; he also designed sets and costumes for La Scala, Milan, in 1966. Die Lucio Fontana gewidmete Abteilung besteht aus dem Ensemble zweier Kerne, die separat in das Diözesanmuseum aufgenommen wurden und absichtlich gesammelt und als Beweis für die außergewöhnliche skulpturale Tätigkeit des Künstlers in Mailand und auf dem Gebiet der Sakralkunst ausgestellt wurden. In this manifesto, they wrote: “The idea of synthesis is grounded in the concept that certain scientific and philosophical developments have transformed the human psyche to such an extent that traditional ‘static’ art forms and the differentiation of artistic disciplines have become obsolete. Fontana was attempting to create a work which was “neither painting nor sculpture” which he achieved with the Spatial Concept series. The Two Fridas (1939): Duality and Surrealism in Kahlo’s Famous Portrait, The Garden of Earthly Delights: 15th Century Surrealism of Hieronymus Bosch, False Start: Bridging the Gap Between Abstract Expressionism and Pop Art. It is now in the Royal Museum of Fine Arts, Antwerp. It has been suggested that Fontana’s experience as a sculptor influenced his work with the Spatial Concept series; the cuts are almost sculptural in their precision. At its simplest, this can be seen as marking the movement of the artist’s hand, like the brushwork in Abstract Expressionist painting. The spatialism movement aimed to synthesize color, space, sound, movement and time. The Last Supper: The Greatest Masterpiece of the R... Buying Original Art: The Ultimate Guide to Art Sho... 5 Most Expensive Paintings of All Time: Da Vinci t... Three Studies for Figures at the Base of a Crucifi... Sky Above Clouds IV, The Landscape, and O’Ke... Log in for artists (Singulart artists only). | Tate Images. Spatial Concept 'Waiting', Fontana, Lucio, 1960, Canvas. I am happy to go to the grave after such a discovery.” Singulart presents you with the concept of spatialism, and examines the techniques used in Lucio Fontana’s Spatial Concept: Waiting.Â. 18.11.20 - 20.02.21 Galerie Karsten Greve Cologne. Lucio Fontana, Concetto Spaziale, Attese (Spatial Concept, Waiting), 1960. As part of the Walker's 75th anniversary we are releasing a variety of clips from the Walker's archives. LUCIO-FONTANA-Spatial-Environment-in-Red-Light-1967-.jpg ... From 1949 on he started the so-called Spatial Concept or slash series, consisting in holes or slashes on the surface of monochrome paintings, drawing a sign of what he named "an art for the Space Age". References. Fontana achieved this in his piece Spatial environment, arguably one of the first examples of installation art. When WWII came, Fontana returned to Argentina, becoming a teacher and founding the Altamira cultural center.Â. Galleria Civica di Arte Moderna e Contemporanea Torino Torino, Italy. At the Met Breuer, a detail of Lucio Fontana’s “Spatial Concept, Expectation,” from 1967. Over the next two decades, he continued to seek new ways of developing the hole as his signature gesture. The Fontana Hall was designed as an environmental immersion work. Spatial Concept: Waiting belongs to the tagli (cuts) stage of Fontana’s Spatial Concept series, and is comprised of a single cut, leaning slightly to the right, over an unpainted canvas. Lucio Fontana (1899-1968) [Concetto spaziale] signed and dated ‘l. By slashing the canvas – which, as the picture support, is the basic condition for all painting – Lucio Fontana breaks with this tradition. Studies for the Spatial Concept (sculpture) 1967 (drawings on the front and back of the sheet) YEAR: 1967 TECHNIQUE: Ballpoint pen on paper DIMENSIONS: 28 x 22 cm. This iconoclastic gesture destroyed painting as a receptacle of illusions and left viewers contemplating a real cut, which Fontana described as “the beginning of a sculpture in space.”, By slashing the center of his canvases, Fontana allowed three–dimensional space to intrude into an otherwise two–dimensional surface. Lucio Fontana: Ceramics Installation view, Galerie Karsten Greve Cologne, 2020. Find more prominent pieces of abstract at Wikiart.org – best visual art database. Rosario de Santa Fé 1899 – 1968 Comabbio. Lucio Fontana's career was largely influenced by the spatial concept Lucio Fontana - Concept Spatiale (detail), 1958. 32 notes Feb 26th, 2014. Lucio Fontana, Concetto Spaziale, Attese (Spatial Concept, Waiting), 1960.All images courtesy: Provincia di Reggio Calabria-Assessorato Politiche e Pianificazione Culturale-Beni Culturali-Difesa della Legalità Considered together, they are Fontana's most extensive and varied group of works and they have come to be seen as emblematic of his gestural aesthetic. All requests to license audio or video footage produced by MoMA should be addressed to Scala Archives at [email protected]. In 1949, Fontana embarked on his Spatial Concept series, what he would later call, “art for the Space Age.” He began with the buchi (holes), using a knife to stab the surface of a canvas. For licensing motion picture film footage it is advised to apply directly to the copyright holders. Fontana’s innovative theories prefigured later developments in environmental art, … Unlike his buchi series, the tagli works did not feature any embellishment apart from the perforations. ‘Concept Spatial’ was created in 1966 by Lucio Fontana in Spatialism style. From 1961, he began using metal as the background of his work, still using his signature slashing technique. 1950. He quickly became a name on the Italian art scene, particularly after his appointment as the apprentice of sculptor Adolf Wildt. Indeed, as with the majority of his defining cycles of work, Fontana conceived the initial concept on paper, creating what Luca Massimo Barbero has described as ‘diagrams of thought’, studies that served as, ‘a storage space of ideas, where Fontana works on the sign’ (L. Massimo He exhibited his first installation in 1948, the same year he began his infamous ‘slashed canvases’. Executed in 1954 ... bridging these divisions to exist as a true ‘spatial concept’. Lucio Fontana Concetto spaziale (Spatial Concept) Vase, 1953 Terracotta, hight 50 x 28 cm Collection of A. Minola, Turin . Spatial concept Lucio Fontana 1952. Fontana’s proposal is the abolition of illusory space and its substitution with real space, principles that he developed in his concept of Spatialism, published in the Manifiesto blanco of 1946. This article about a twentieth-century painting is a stub. Galleria Civica di Arte Moderna e Contemporanea Torino Torino, Italy. If you have additional information or spotted an error, please send feedback to [email protected]. Summary of Lucio Fontana. “Sculpture and painting are both things of the past,” argued Fontana. Lucio Fontana, der als Begründer des Spatialismus anerkannt ist, war ein produktiver Künstler, der von dem Wunsch getrieben war, die Beziehung zwischen Oberfläche und Dimensionalität hervorzuheben und zu erforschen. Although Fontana was not a supporter of the fascist regime, he was commissioned to create pieces for Mussolini, including a bust of Mussolini himself; this decision continued to plague him throughout his career, as his willingness to create art for the fascist regime considerably affected his reputation. Lucio Fontana Spatial Concept (Concetto spaziale) 1957 On view; MoMA, Floor 4, 406 The David Geffen Galleries; The strongest visual device in Spatial Concept is a wide, irregular oval of rough holes, their broken rims poking outward as if some force in the hidden darkness behind the picture plane were struggling to break through. Required fields are marked *. Lucio Fontana: the Spatial Concept of Art | | ISBN: | Kostenloser Versand für alle Bücher mit Versand und Verkauf duch Amazon. All images courtesy: Provincia di Reggio Calabria-Assessorato Politiche e Pianificazione Culturale-Beni Culturali-Difesa della Legalità . Fondazione Lucio Fontana, Milan. His family moved to Italy in 1905, but he returned to Argentina in 1922, to help in his father’s sculpture studio. See E. Crispolti, Fontana: Catalogo generale, vol. Save my name, email, and website in this browser for the next time I comment. Lucio Fontana (* 19. Studies for the Spatial Concept (sculpture) 1967 (drawings on the front and back of the sheet) YEAR: 1967 TECHNIQUE: Ballpoint pen on paper DIMENSIONS: 28 x 22 cm. I’d always liked the Italian artist Lucio Fontana’s slash paintings, but more out of curiosity than conviction. Covered in fluorescent paint, the amoeba-like forms were lit by ultraviolet lamps, creating an eerie atmosphere to the installation. Fontana implemented this theory in his series Concetto Spaziale (‘spatial concept’), punching holes in the picture plane and slicing through his canvases in order to expose the dimensional space beneath. Spatial Concept, Waiting, 1967. By visiting our website or transacting with us, you agree to this. 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