Lucio Fontana
Covered by droit de suite
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"Concetto Spaziale, Attese"
On verso signed l. Fontana with inscription "La mia firma pare falsa ma lo ho fatta io". Water-based paint on canvas on canvas 61 x 50 cm. This lot will be presented at the Fondazione Lucio Fontana in March 2021 for an archive no in the catalogue raisonné.
Saleroom notice
The work will be presented to the Fondazione Lucio Fontana at their meeting in March 2021 for a certificate of authenticity, which is a condition for the sale. Please note that Bukowskis will keep the work until the meeting in March 2021, thereafter the work can be collected and payed for by the buyer.
Provenance
Galerie Matthias Fels, Paris.
Galerie Leger, Malmö, Sweden.
Bo Alveryd, Kävlinge.
Private collection, Sweden, acquired from the above in the beginning of 1970s.
More information
Concetto Spaziale, Attese is one of a series of works Fontana made in Milan between 1958 and 1968 that are collectively known as Tagli (‘cuts’). Together they constitute Fontana’s largest and most varied series of iconic works and have come to epitomise the artist’s expressive creativity.
Up until the 1940s Fontana lived and worked in Italy and France, but at the start of the Second World War he travelled to Argentina. It was in Buenos Aires at the Academia de Altamira that his ideas of ‘Spazialismo’ were born, the artistic movement that Fontana founded and which came to shape his entire artistic career. In his manifesto from 1946, Manifesto Blanco, he encouraged artists and like-minded to abandon traditional and academic notions of art to embrace new technologies and science in order to create a fourth dimension.
A significant aspect to what made him so compelling was his ability to merge sculpture and painting. His choice of forms remained inconsistent throughout his career – from geometrical perfection to shapes that were more difficult to define. It wasn’t about the cuts or the holes in themselves, but about the process of getting there. Fontana’s work was a product of its time, independently of his choice of medium or technique.
Fontana had already begun to work with the concept ‘Concetto Spaziale’ in 1947. A few years later he created the series Pietre (‘stones’) where he fused painting and sculpture by applying thick layers of paint on the canvas and then adding a collage of coloured pieces of glass. Shortly thereafter followed a series of works he called Buchi (‘holes’). Here the canvas was punctured and perforated with holes in order to break up its two-dimensional quality and expose the space behind the painting. It was towards the end of the 1950s that he began making the Tagli pieces, that, together with the Buchi, became the forms he continued to work with until his death in 1968. Through his ‘Concetto Spaziale’ Fontana succeeded in erasing the border between painting and sculpture.
The first Tagli were executed in the late summer and autumn of 1958 when Fontana was almost 60 years old. The canvases were filled with small diagonal cuts in formations. Fontana experimented with both the size and the shape of the Tagli. As time passed the cuts became fewer but more forceful. In order to achieve the right effect the artist was particularly careful with the surface of the canvas, first ‘purifying’ it with a matt, often water-based, monochrome colour. The pieces with only one cut are marked Attesa whilst the canvases with multiple cuts are marked in the plural Attese, translated as ‘hopes’ or ‘aspirations’, a meaning that gives the pieces an additional conceptual dimension. Fontana dressed the back of the canvas with ‘telleta’, strips of black gauze, in order to create the illusion of space and void beyond the cut. In Tagli destruction and creation became one. Each cut in the canvas is executed in a single decisive and irrevocable movement. The physical act that forcefully ruptures the canvas simultaneously opens up a new sculptural and spatial perspective of the dark infinity beyond the surface of the canvas.
Fontana’s artistic journey with Tagli and Buchi coincided with the Space Race of the 1960s. The ultimate destination for man’s travel into cosmos was the Moon, and in 1961 Yuri Gagarin became the first man in space.
“As a painter, while working on one of my perforated canvases, I do not want to make a painting; I want to open up space, create a new dimension for art, tie in at the cosmos as it endlessly expands beyond the confining plane of the picture. With my innovation of the hole pierced through the canvas in repetitive formations, I have not attempted to decorate a surface, but, on the contrary, I have tried to break its dimensional limitations. Beyond the perforations a newly gained freedom of interpretation awaits us, but also, and just as inevitably, the end of art”. (Lucio Fontana, 1966)
Artist
Up until the 1940s, Lucio Fontana lived and worked in Italy and France, but at the wake of the Second World War he fled to Argentina. In Buenos Aires at the Academia of Altamira, his idea of Spazialismo was born, a artist movement grounded by Fontana which came to define the majority of his career. In his manifesto from 1946, Manifesto Blanco, the artist challenged his peers to steer away from the tranditional and academic elements of art, urging them to include new techniques and darw to create art into the fourth dimension.
A great reasoning behind Fontana's popularity was his ability to combine sculpture and painting. His choice of forms was inconsistent during the entirity of his career, from geometirc perfections to more undefinable forms. It didn't matter so much about the end result, but rather the process it took to get there. Fontana's art was a product of its time, no matter the medium or technique.
Already in 1947, Fontana began working with the concept Concetto Spaziale. A few years later his Pietre series was added where he seemlessly combines sculpture and painting by applying thick layers of paint on a canvas and thereafter adding a collage of colourful glass chips. Not long after that Fontana entered a period with Buchi, where he made holes in the canvas to break up the two dimensionality of the composition in search for the space behind the painting. At the end of the 1950s he began his work with Tagli, whereby he sliced his canvas which continuously applying his Buchi technique, a style which he continued with up until his death in 1968. Through Concetto Spaziale, Fontana managed to blurr the lines between painting and sculpture.
His first Tagli was created at the end of the summer and early autumn of 1958 when Fontana was almost 60 years old. His canvases were filled with small diagonal incisions which he grouped together. Fontana experimented with size and form, and with time the slices became less and more powerful. To reach the right effect, Fontana was incredibally precise with the surface of the canvas, coating it first with a matt, often water based, monochrome colour. His pieces with only one slice are marked as "Attesa" and the canvases with multiple slices are marked with the plural form, "Arrese". The meaning "expectation or hope" gives an additional dimension to the work. Fontana covered the back piece with "telleta," strips of deep black fabric to create the illusion of an empty space behind the canvas. In Tagli, destruction and creation merge. Every slice is formulated through a definitive and irreversable gesture. Every action which results in a wound upon the canvas simultaneously allows for a new sculptural perspective out into the black neverending space behind the canvas. Fontana's artistic journey with Tagli and Buchi happened correspondingly with the 1960s space race.
"As an artist, when I work with one of my perforated canvases, I have no desire to create a painting; I want to create an opening for space, to give art a new dimension, to bind it to the cosmos, as it endlessly continues beyond the boundaries of the painting. With my innovation of holes drilled through the canvas in repeated formations, I do not wish to decorate a surface, but rather to break up its dimensional limitations. Behind the perforations lies a newfound freedom for interpretation, but also, just as inevitably, an end to art." (Lucio Fontana, 1966)
Fontana came and had several exhibitions in Sweden during the 1960s. One of his greatest admirers was the gallerist Pierre Lundholm at Galerie Pierre in Stockholm who not only arraned exhibitions in 1964, 1967, and after Fontana's death in 1971, but also stored and sold Fontana's work. Fontana even managed to exhibit at the Swedish French Art Gallery in 1965 as well as have a large exhibition at Moderna Museet in 1967 in Stockholm through the initiative of Pontus Hultén. His paintings were admired by the most asteemed collectors, and with the wider public, his works were preceived as bizzar and incomprehensible. Today Lucio Fontana is praised for his art that stood as a testament beyond his time.
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