Fontana Ceramics: A Private Exhibition of Lucio Fontana's Pioneering CeramicsParis
Spatial Concept, 1954
Private Collection, Tortona,
Private collection, Switzerland.
R. Pasini, L'informale italiano, Parma, 1997, p. 73 (illustrated in colour).
E. Crispolti, Fontana. Catalogo generale di sculture, dipinti, ambientazioni, Geneva-Milan, 2006, vol. I, p. 318 (illustrated).
Bolzano, Museum of Modern Art, Lucio Fontana. Arnulf Rainer, Uber das Bild. Oltre la tela, 10 March–28 May 1995, cat. (illustrated in colour).
Padula, Certosa di San Lorenzo, Barocco e Mediterraneo, June–September 1998, cat., p.84 (illustrated in colour).
Palma, Fundació La Caixa, 22 July–13 September 1998, cat. p. 73 (illustrated).
Sondrio, Palazzo Sertoli, Arte a Milano 1946–1959. Il Movimento Spaziale, October–November 1998 cat. pp. 37 and 109 (illustrated in colour). This exhibition later travelled to Milan, Galleria Gruppo Credito Valtellinese, Refettorio delle Stelline, June–July 1999, cat. pp. 37 and 108 (illustrated in colour).
Japan, The Fukuyama Museum of Art, Afro – Burri – Fontana, 6 April–26 2002. This exhibition later travelled to The National Museum of Art Osaka, 6 June–21 July 2002, pp. 115 and 356, no. 46 (illustrated in colour).
Verona, Galleria d’Arte Moderna Palazzo Forti, Lucio Fontana. Metafore barocche, 2002–2003, cat. pp. 34 and 122, no. 7 (illustrated in colour).
Cantù, Galleria del Design e dell’Arredamento, Lucio Fontana e il mosaico di Cantù, 26 October 2003–26 January 2004, cat. p. 84, (illustrated in colour).
In the group of almost fifty barocchi, the genesis of which has been documented photographically, it is likely that he used an already pigmented house paint for the first paint layer, on top of a thin white commercial primer. Fontana often added some sand to the first paint layer, rendering it light by revealing the white ground in little scratches caused by the grains being dragged through the wet paint. The formation of severe drying cracks in the impastoed paint films was prevented through the presence of bulking agents such as sand and often anthracite-coloured lustrini, small glittery particles that allowed the creation of a smooth, nonreflective surface. Lastly, the baroque style as interpreted by Fontana, is characterised by an artificial dynamism which results in explosive, gestural, curved shapes, occasionally altered shapes of the stretchers themselves, and heavily impastoed paint surfaces that are associated with the 'Informel' painters.
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