Lucio Fontana, Rosario de Santa Fé 1899 - 1968 Comabbio
Concetto Spaziale, Natura, 1959
Marlborough Gallery, Rome;
Teresita Rasini Fontana, Milan;
Kasper Koenig, Cologne;
Cesare Vivaldi, ‘Arte: Fontana e… Raspi’, in: L’Italia Domani, No. 48, A. II, Rome, 28 November 1959, p. 16, illustrated (edition no. unknown);
Enrico Crispolti, Lucio Fontana, Catalogue Raisonné des Peintures et Environments Spatiaux, Vol. II, Brussels 1974, p. 103, no. 59 N 3, illustrated (terracotta version);
Enrico Crispolti, Lucio Fontana, Catalogo Generale, Vol. I, Milan 1986, p. 345, no. 59 N 3, illustrated (terracotta version);
Carlo Pirovano, Scultura italiana del Novecento: Opere, tendenze protagonisti, Milan 1993, p. 264, no. 363, illustrated (terracotta version);
Exh. Cat., Milan, Academia di Belle Arti di Brera, La città di Brera, Due secoli di scultura, June - July 1995, p. 278, illustrated (terracotta version);
Exh. Cat., Verona, Galleria d’Arte Moderna e Contemporanea, Palazzo Forti, Lucio Fontana, metafore barocche, October 2002 – March 2003, p. 19, illustrated (terracotta version);
Enrico Crispolti, Lucio Fontana, Catalogo Ragionato di Sculture, Dipinti, Ambientazioni, Vol. I, Milan 2006, p. 518, no. 59 N 3, illustrated (terracotta version);
ExhibitionsSt. Moritz, Robilant+Voena, Italian post-war sculpture: between figuration and abstraction, 23 December 2017 - 23 January 2018
Krefeld, Galerie Merian Edition,Lucio Fontana, 1899-1968, September – October 1973 (artist’s proof);
Verbania-Pallanza, Museo del Paesaggio,Biennale Internazionale di scultura contemporanea, Aptico: Il Senso della Scultura, July – September 1976 (artist's proof);
Turin, Galleria Civica d’Arte Moderna,Arte in Italia: 1960 – 1977, May – September 1977, p. 76 (text) (artist's proof);
Milan, Palazzo Reale,La Donazione Lucio Fontana: proposta per una sistemazione museografica, November 1978 – January 1979, p. 106, no. 72, illustrated (terracotta version);
Rimini, Sala Comunale d’Arte Contemporanea,Lucio Fontana, Mostra antologica, June – September 1982, n.p., no. 77, illustrated (artist’s proof);
Tokyo, The Contemporary Art Gallery,Seibu-Ikebukuro, Fontana, March 1984, n.p., no. 16, illustrated (edition no. 2/2);
Varese, Musei Civici di Varese,Lucio Fontana, Mostra antologica, May – August 1985, p. 139, no. 91, illustrated (artist's proof);
Rivoli, Castello di Rivoli,Lucio Fontana, La cultura dell’occhio, June – September 1986, p. 74, no. 60, illustrated (terracotta version);
Tokyo, The Yomiuri Shimbun Mitsukoshi Museum; Kagoshima, Museo Municipale d’Arte; Nishinomiya, Otani Museum of Art,Lucio Fontana, La penetrazione dello spazio, April – November 1992, p. 105, no. 70, illustrated in colour (edition no. 2/2);
Prato, Museo Pecci,Burri e Fontana 1949-1968, April – June 1996, p. 164, no. 22, illustrated in colour (terracotta version);
Frankfurt, Schirn Kunsthalle; and Vienna, Museum Moderner Kunst Stiftung Ludwig,Lucio Fontana, Retrospektive, June 1996 – January 1997, pp. 202 and 223, no. 162, illustrated in colour (edition no. unknown);
Milan, PAC, Padiglione d’Arte Contemporanea; Triennale di Milano; Museo Diocesano; Accademia di Belle Arti di Brera; Museo Teatrale alla Scala; Centenario di Lucio Fontana, Cinque mostre a Milano: Lucio Fontana, Idee e capolavori, April – June 1999, p. 123, no. I, 111, illustrated in colour (terracotta version);
London, Massimo de Carlo, Günther Förg/ Lucio Fontana: Bronze/Terracotta, October – November 2014.
Starting with Figurativism, Fontana presented his first abstract sculptures in the early 1930s, exhibiting at Galleria del Milione in Milan, which at that time was seen as the centre of abstract art in Italy. His subject matter from this period was extremely varied ranging from battle scenes to flowers and evoked a raw intimacy. In 1939, Fontana returned to Argentina, where he stayed until the end of World War II. In 1946, he along with some South American students, launched the Manifiesto Blanco, which would lay the foundations for the birth of Spatialism. The following year Fontana returned to Italy, bringing with him the revolutionary energy of his Spatialist ideas. In the same year, he executed his first spatial sculpture, which was exhibited at the Venice Biennale in 1948.
During the early 1950s, figurative ceramics, masks and sacred figures appeared in Fontana’s sculptures. During the second part of the decade however these more elaborate features had given way to elegantly simple cylindrical vases and ceramic and terracotta plates, marked only with holes and scratches.
It was at the end of the 1950s that Fontana’s Natura series was born. This comprised of terracotta or bronze sculptures that were executed as mono-surface pebbles or corresponding bivalve forms that later became “balloons” according to Fontana’s own definition. His Natura mostly corresponded to the cosmic imagination to which the artist often referred and to the ideals of space travel prevalent during the 1960s. The present work is one of a series which were made by cutting a gash across a piece of terracotta clay, which Fontana subsequently cast in bronze. He believed that the incision was a ‘vital sign’, signalling ‘a desire to make the inert material live’.
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