Lucio Fontana
b. 1899, Rosario de Santa Fé, Argentina
d. 1968, Comabbio, Italy
Concetto Spaziale
1967
Water-based paint on canvas
33 x 24 cm / 13 x 9.5 in
Provenance
Galerie Pierre, Stockholm;
Collection Fred Wennerholm, Stockholm;
Collection Carl G. Bonde, Eslöv.
Literature
E. Crispolti, Lucio Fontana. Catalogue Raisonné des peintures, sculptures et environments spatiaux, Bruxelles 1974, vol. II, p. 188;
E. Crispolti, Lucio Fontana. Catalogo generale, Milano 1986, vol. II, p. 653;
E. Crispolti, Lucio Fontana. Catalogo ragionato di sculture, dipinti, ambientazioni, Milano 2006, vol. II p. 850, n. 67 T 2.
Description
Galerie Pierre was one of the leading avant-garde galleries in Scandinavia during the 1960s, during which time it hosted a series of exhibition devoted to the most important European artists, notably Yves Klein and Lucio Fontana. The first exhibition dedicated to Fontana was held in 1964 and was followed by a second one, in collaboration with Galerie Bleue, in April 1967.
For this exhibition Fontana executed a set of his most iconic works: Concetto Spaziale. Attese
(the so-called “slashes”) between the end 1966 and the beginning of 1967, just few months after the 1966 Venice Biennale, which saw the definitive consecration of the artist.
Differing in size and in colour these works (66 T 139, 66 T 140, 66 T 141, 67 T 2, 67 T 4, 67 T 5, 67 T 6, 67 T 7, 67 T 16, 67 T 17, 67 T 18, 67 T 20,67 T 21, 67 T 22, 67 T 23, 67 T 42, 67 T 55, 67 T 66) represent a summary of Fontana’s art, a set of variations on a fixed theme like a great part of Bach’s music.
A large part of the works presented at the Galerie Pierre were immediately sold and many of them, as is clearly visible from the last edition of the Fontana’s catalogue raisonné, were bought by collectors from Sweden, Norway and Denmark that kept the paintings in their collection for a very long time. Therefore the re-emergence of this work from the very height of Fontana’s career almost fifty years after the Stockholm exhibition, attains a particular importance.
The artwork described above is subject to changes in availability and price without prior notice.
Where applicable ARR will be added.
For this exhibition Fontana executed a set of his most iconic works: Concetto Spaziale. Attese
(the so-called “slashes”) between the end 1966 and the beginning of 1967, just few months after the 1966 Venice Biennale, which saw the definitive consecration of the artist.
Differing in size and in colour these works (66 T 139, 66 T 140, 66 T 141, 67 T 2, 67 T 4, 67 T 5, 67 T 6, 67 T 7, 67 T 16, 67 T 17, 67 T 18, 67 T 20,67 T 21, 67 T 22, 67 T 23, 67 T 42, 67 T 55, 67 T 66) represent a summary of Fontana’s art, a set of variations on a fixed theme like a great part of Bach’s music.
A large part of the works presented at the Galerie Pierre were immediately sold and many of them, as is clearly visible from the last edition of the Fontana’s catalogue raisonné, were bought by collectors from Sweden, Norway and Denmark that kept the paintings in their collection for a very long time. Therefore the re-emergence of this work from the very height of Fontana’s career almost fifty years after the Stockholm exhibition, attains a particular importance.
The artwork described above is subject to changes in availability and price without prior notice.
Where applicable ARR will be added.
