Lucio Fontana
b. 1899, Rosario de Santa Fé, Argentina
d. 1968, Comabbio, Italy
Concetto Spaziale, Attesa
1960
Water-based paint on canvas
81 x 65 cm / 31.8 x 25.5 in
Provenance
Galleria Blu, Milan (with stamp on the stretcher);
Private collection, Cologne;
Galerie Handschin, Basel (with label on the stretcher);
Private Collection, Basel;
Galerie Reckermann, Cologne;
Private Collection, North Rhine-Westphalia (presumably acquired from previously mentioned in the early 1980s).
Literature
Enrico Crispolti, Lucio Fontana. Catalogo ragionato, Brussels 1974, vol. II, pp. 92-93 (illustrated.);
Enrico Crispolti, Lucio Fontana. Catalogo generale, Milan 1986, vol. I, p. 319 (illustrated.).60 T 37;
E. Crispolti, Lucio Fontana. Catalogo ragionato di sculture, dipinti, ambientazioni, Milan 2006, vol. I p. 489, n. 60 T 37.
Description
Fontana began to apply his famous slashes to the canvas in 1958 by means of sharp razor cuts. These highly acclaimed creations by Fontana, among which this early 'Concetto spaziale' also counts, would henceforth make history. Today they are among the highlights of renowned collections, such as the Peggy Guggenheim Collection, Venice, the MoMA, New York, the Neue Nationalgalerie Berlin and the Pinakothek der Moderne, Munich.
'My art is entirely characterized by this purity, by the philosophy of nothingness, which is not the nothingness of destruction but the nothingness of creation [.] And the very slash[.] was not intended as a means of destruction of the image, on contrary, it served as a means to explore what lies beyond it' (from Bettina Ruhrberg, ‘Kritisches Lexikon der Gegenwartskunst’, Munich 1993, p. 3).
Through the gaping cut into the monochrome, almost pure white canvas of the work, Fontana breaks through the constraints of the canvas, beyond the surface and into the depth of the painting itself. The impression of spatial extension occurs not only in the marginal areas of our work, but also in the opened canvas, through which the viewer's eye explores the mysterious depth of the seemingly infinite space, making it a meditative space, which, as Fontana's added phrase 'attesa' hints at, can be expected.
The artwork described above is subject to changes in availability and price without prior notice.
Where applicable ARR will be added.