Cavalli Che Sequono la Vittoria (bozzetto), 1936
Registered at the Fondazione Lucio Fontana, Milan, No.4119/4
52 x 60 x 25 cm / 20.5 x 23.6 x 9.8 in
Collezione privata dal 1930
Galleria Tega, Milano
Paolo Campiglio, Lucio Fontana, La Scultura Architettonica Negli Anni Trenta, Nuoro
1995, pp. 83-84, no. 46 ill.
Fontana e Milano, Museo della Permanente, Milano, 1996, pp. 55 e 152, no. 8 ill. a colori (intitolato Cavalli rampanti)
di Lucio Fontana, Triennale di Milano, Milano, 1999, p. 170
ill. a colori
Catalogo della mostra, Leeds,
Henry Moore Institute, Rovereto, MAR, Scultura Lingua Morta: Scultura
Nell’Italia Fascista 2003, p. 98 fig. 5 ill.
Enrico Crispolti, Lucio Fontana, Catalogo Ragionato di Sculture, Dipinti,
Ambientazioni, Vol. II, Milan, 2006,
no. 36 A 5 ill.
Fontana works from 1936 to 1965, Amedeo Porro Fine Arts Ben Brown
Fine Arts, 2015, Silvana editoriale,
Milano, pp. 32 - 33 ill. a colori
Lucio Fontana Sculptor from the earth to the cosmo, M&L Fine Art, Londra, 2017, p.21 ill.
B. Corà (a cura di), Il rosso e il nero, Galleria Tega, Milano 2017, p. 106, ill.
Fontana e Milano, Museo della Permanente, Milan, 1996
di Lucio Fontana, Triennale di Milano, Milan, 1999
Lucio Fontana works from 1936 to 1965, Amedeo Porro Fine Arts Ben Brown Fine Arts, London, 2015
Lucio Fontana Sculptor from the earth to the cosmo, M&L Fine Art, London, 2017
Fontana began his sculpting career at his father’s firm where he would make funerary busts out of plaster or marble. In 1928, he enrolled at the Accademia di Belle Arti di Brera where he started training as a Neo-Classical sculptor. However, soon after leaving the Accademia, the artist moved away from the rigorous rules of sculpture. In 1935, Fontana was in the small town of Albisola where he began his career in ceramics in the workshop of the Futurist ceramist, Tullio Mazzotti. Amongst his inspirations, Fontana had Ernesto de Fiori, for his Expressionist use of clay, and Costantin Brancusi, for his abstraction.
Despite his traditional training, during his sculpture career, Fontana’s early researches were driven by his intention to merge abstraction and figuration.
In 1936, Fontana won the commission for the Sala della Vittoria of the VI Milan Triennale, along with Edoardo Persico, Giuseppe Palanti and Marcello Nizzoli. On that occasion, Fontana had the chance to bring his sculpture to a bigger scale and to approach both figuration and spatial researches. As a matter of fact, the artist had the opportunity to confront himself with the commission of a classical theme: the human figure followed by rearing horses; to that, he managed to bring a modernist turn. Fontana managed to express the idea of energy in space through the apparent movement of the horses. The realization of that monumental plaster work took Fontana through multiple obstacles, forcing him to work day and night. To emphasize the connection between abstraction and figuration, the sculptor turned the horses’ iron armour into a large abstract sculpture. Gio Ponti decided to publish the work in “Domus” in order to show that figuration and abstraction could actually coexist in the work of the Argentinean artist.
The success of the sculpture was immense and obtained the approval of the public and the critics alike. The multiple projects and drafts that Fontana realized for this commission were turned into small bronze sculptures destined for the most exigent collectors. This was the case of Cavalli che Sequono la Vittoria (bozzetto), which was realized that same year and that shows the model of the two ramping horses.