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215:, Argentina, to Italian immigrant parents, he was the son of the sculptor Luigi Fontana (1865–1946). Fontana spent the first years of his life in Argentina and then was sent to Italy in 1905, where he stayed until 1922, working as a sculptor with his father, and then on his own. Already in 1926, he participated in the first exhibition of Nexus, a group of young Argentine artists working in Rosario de Santa Fé.
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381:(‘little theatres’), in which he returned to an essentially flat idiom by using backcloths enclosed within wings resembling a frame; the reference to theatre emphasizes the act of looking, while in the foreground a series of irregular spheres or oscillating, wavy silhouettes creates a lively shadow play. Another work from that time,
263:, or Spatialism, in five manifestos from 1947 to 1952. Upon his return from Argentina in 1947, he supported, along with writers and philosophers, the first manifesto of spatialism (Spazialismo)**. Fontana's studio and works were completely destroyed in the Allied bombings of Milan, but he soon resumed his ceramics works in
274:('Spatial environment') (1949) at the Galleria del Naviglio in Milan, a temporary installation consisting of a giant amoeba-like shape suspended in the void in a darkened room and lit by neon light. From 1949 on he started the so-called Spatial Concept or slash series, consisting in holes or slashes on the surface of
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In the last years of his career, Fontana became increasingly interested in the staging of his work in the many exhibitions that honored him worldwide, as well as in the idea of purity achieved in his last white canvases. These concerns were prominent at the 1966 Venice
Biennale, for which he designed
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Fontana often lined the reverse of his canvases with black gauze so that the darkness would shimmer behind the open cuts and create a mysterious sense of illusion and depth. He then created an elaborate neon ceiling called "Luce spaziale" in 1951 for the
Triennale in Milan. In his important series of
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cycle, begun in 1949–50, he punctured the surface of his canvases, breaking the membrane of two-dimensionality in order to highlight the space behind the picture. From 1958 he purified his paintings by creating matte, monochrome surfaces, thus focusing the viewer's attention on the slices that rend
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in New York. As a consequence of his first visit to New York in 1961, he created a series of metal works, done between 1961 and 1965. The works consisted of large sheets of shiny and scratched copper, pierced and gouged, cut through by dramatic vertical gestures that recall the force of New York
259:, which states: "Matter, colour and sound in motion are the phenomena whose simultaneous development makes up the new art". In the text, which Fontana did not sign but to which he actively contributed, he began to formulate the theories that he was to expand as
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Fontana created a prolific amount of graphic work with abstract motifs as well as figures, little-known in the art world, at the same time as he was producing his abstract perforated works. He was also the sculptor of the bust of
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Around 1960, Fontana began to reinvent the cuts and punctures that had characterized his highly personal style up to that point, covering canvases with layers of thick oil paint applied by hand and brush and using a scalpel or
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painters. In 1935 he joined the association
Abstraction-Création in Paris and from 1936 to 1949 made expressionist sculptures in ceramic and bronze. In 1939, he joined the Corrente, a Milan group of expressionist artists.
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dedicates a retrospective to the artist. Tornabuoni art held a parallel show in its Avenue
Matignon Paris gallery space. The first major American retrospective since the artist's death came in 2019 at the
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in Venice, he created a series of 22 works dedicated to the lagoon city. He manipulated the paint with his fingers and various instruments to make furrows, sometimes including scattered fragments of
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organized his first show in the U.S., an exhibition of the Venice series, at the Martha
Jackson Gallery, New York. His first solo exhibition at an American museum was held at the
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385:(1966), consists of three large white canvases punctuated by lines of holes, embraced in a theatrical setting made from ultramarine plastic sheets vaguely resembling wings.
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of
Fontana's paintings, sculptures and environments in 2006. In 2013, Luca Massimo Barbero, Nina Ardemagni Laurini and Silvia Ardemagni published a three-volume
267:. In Milan, he collaborated with noted Milanese architects to decorate several new buildings that were part of the effort to reconstruct the city after the war.
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Fontana engaged in many collaborative projects with important architects of the day, particularly
Luciano Baldessari, who shared and supported his research for
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series, begun in 1952, Fontana fused the sculptural with painting by encrusting the surfaces of his canvases with heavy impasto and colored glass. In his
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In 1940 he returned to
Argentina. In Buenos Aires (1946) he founded the Altamira academy together with some of his students, and made public the
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Fontana's works can be found in the permanent collections of more than one hundred museums around the world. In particular, examples from the
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and, among other things, commissioned him to design the ceiling of the cinema in the
Sidercomit Pavilion at the 21st Milan Fair in 1953.
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559:(1965), from the collection of Anna-Stina Malmborg Hoglund and Gunnar Hoglund set a new record for a slash painting at £8.4 million at
477:, and he represented Argentina various times; he was awarded the Grand Prize for Painting at the Venice Biennale of 1966. In 2014, the
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282:('spatial concept') for these works and used it for almost all his later paintings. These can be divided into broad categories: the
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831:"Lucio Fontana, Struttura al neon per la IX Triennale di Milano (1951) « circospetto! Genova «meglio che la franca brignola»"
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in Kassel in 1968, he positioned a large, plaster slash as the centre of a totally white labyrinth, including ceiling and floor (
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painting as the first known artist to slash his canvases - which symbolizes an utter rejection of all prerequisites of art.
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A rare, large crimson work with a single slash, which
Fontana dedicated to his wife and which has always been known as the
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326:, a series of sculptures made by cutting a gash across a sphere of terracotta clay, which he subsequently cast in bronze.
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the skin of the canvas. In 1959 Fontana exhibited cut-off paintings with multiple combinable elements (he named the sets
555:, fetched £6.7 million ($ 11.6 million) at Christie's London in 2008, then an auction record for the artist. Fontana's
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Anny Shaw, (February 12, 2015), "London's second week of auctions are strong, but more post-war than contemporary"
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to create great fissures in their surface. In 1961, following an invitation to participate along with artists
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Declaring Space: Mark Rothko, Barnett Newman, Lucio Fontana, Yves Klein, September 30, 2007 – January 6, 2008
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and in numerous exhibitions around the world. Among others, major retrospectives have been organized by the
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Shortly before his death he was present at the "Destruction Art, Destroy to Create" demonstration at the
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Sharon Hecker. "Servant of Two Masters: Lucio Fontana's 1948 Sculptures in Milan's Cinema Arlecchino".
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paintings, drawing a sign of what he named "an art for the Space Age". He devised the generic title
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London in 2015. Even more popular are Fontana's oval canvases. Sotheby's sold a work titled
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from 1928 to 1930. It was there he presented his first exhibition in 1930, organized by the
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Fontana had his first solo exhibitions at Galleria del Milione, Milan, in 1931. In 1961,
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Gareth Harris (November 14, 2013), "Catalogue of Lucio Fontana’s drawings in the works"
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Marshall Plan Modernism: Italian Postwar Abstraction and the Beginnings of Autonomia.
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of Fontana's works on paper, including more than 5,500 works in chronological order.
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Christie's London, Post-War and Contemporary Art Evening Auction, 28 June 2011.
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The crimson and the white – Lucio Fontana and the blade that took him to space
518:, Eindhoven. Fontana's jewelry is included in the permanent collection of the
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Important 20th Century Decorative Art & Design, 13 June 2008, New York.
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In November 2015, Christie's set an auction record for the artist's work
473:, London). Since 1930 Fontana's work had been exhibited regularly at the
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1325:, L. and Gallery, H., 1999. Fontana. University of California Press.
567:(1963) for £10.32 million in 2008. Part of Fontana's Venice circle,
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600:. Oxford University Press, 10/giu/2004. p. 259. Web. 21 Jun. 2012.
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Following his return to Italy in 1948 Fontana exhibited his first
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painter, sculptor and theorist. He is known as the founder of
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was sold at Christie's in New York for $ 7 million in 2008.
933:"Honoring Two Cities With Slashes, Piercings and Punctures"
412:, Italy), his family's mother town, where he died in 1968.
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Concetto Spaziale – Attesa (Spatial Concept – Expectation)
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on 14 May 2015 – via Museum of Modern Art. moma.org.
461:, London (1999), Fondazione Lucio Fontana (1999), and the
662:"Lucio Fontana Opens at the Guggenheim Museum October 10"
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of New York. Then he left his home in Milano and went to
243:. During the following decade he journeyed in Italy and
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In 1927 Fontana returned to Italy and studied alongside
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Lucio Fontana: Ambienti Spaziali, May 3 – June 30, 2012
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construction and the metal and glass of the buildings.
465:(1987; traveled to La Fundación 'la Caixa' Barcelona;
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The Creative Spirit: Stories of 20th Century Artists
1120:"Catalogue of Lucio Fontana's drawings in the works"
290:('slashes'), which he instituted in the mid-1950s.
1089:London, The Italian Sale, 14 October 2011, London.
1242:("£5 and £7 million") only. Retrieved 2020-05-05.
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789:. Acquavella Galleries, New York. Archived from
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309:(1963–64), Fontana uses the egg shape. With his
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693:. University of California Press. p. 172.
613:, University of California Press, 2000, p. 68.
449:, Minneapolis, in 1966. He participated in the
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1214:Paris exhibition tests strength of art market
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502:, Amsterdam, the Centre Pompidou, Paris, the
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377:Among Fontana's last works are a series of
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722:. Oxford University Press. Archived from
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1309:Lucio Fontana: Between Utopia and Kitsch
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49:of all important aspects of the article.
1586:Zero to Infinity: Arte Povera 1962-1972
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1277:Lucio Fontana: the artist's materials.
512:Museum of Contemporary Art Villa Croce
365:. Fontana was subsequently invited by
45:Please consider expanding the lead to
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286:('holes), beginning in 1949, and the
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1798:20th-century Argentine male artists
1763:Argentine people of Italian descent
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1232:"Anatomy of a Rediscovered Fontana"
1230:Marion Maneker (February 3, 2009),
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1768:Art Informel and Tachisme painters
1292:Orford, Emily-Jane Hills. (2008).
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1793:20th-century Italian male artists
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1057:"Lucio Fontana: On the Threshold"
905:Francesca Pasini on Lucio Fontana
576:Concetto spaziale, la fine di dio
565:Concetto spaziale, la fine di dio
508:Galleria Nazionale d'Arte Moderna
389:the environment for his work. At
331:Spatial Light – Structure in Neon
307:Concetto spaziale, La Fine di Dio
1733:20th-century Argentine sculptors
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876:Axel Vervoordt Gallery, Antwerp.
634:A Dictionary of the Avant-Gardes
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1723:20th-century Argentine painters
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1212:Guy Dinmore (October 1, 2009),
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1773:Artists from Rosario, Santa Fe
1758:Argentine expatriates in Italy
1002:Lucio Fontana Gagosian Gallery
805:"Boîte – Il segno del disegno"
760:35:3 (December 2012): 337–361.
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47:provide an accessible overview
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1743:20th-century Italian painters
1101:A Silver and Lacquer Bracelet
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272:Ambiente spaziale a luce nera
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1748:Italian contemporary artists
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1296:. Ottawa: Baico Publishing.
677:Guggenheim Museum, New York.
597:The Oxford Dictionary of Art
479:Musée d'Art moderne de Paris
369:to exhibit the works at the
247:, working with abstract and
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636:, Routledge, 2001, p. 216.
569:Festival on the Grand Canal
520:Museum of Fine Arts, Boston
455:Peggy Guggenheim Collection
82:Fontana in a photograph by
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776:MoMA Collection, New York.
467:Stedelijk Museum Amsterdam
298:Spatial Concept "Waiting",
188:[ˈluːtʃofonˈtaːna]
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1275:Gottschaller, Pia, 2012.
1253:"Lucio Fontana: A primer"
953:Concetto spaziale, Attese
860:Concetto spaziale, Attese
687:Whitfield, Sarah (2000).
557:Concetto Spaziale, Attese
498:series are housed in the
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1348:Fondazione Lucio Fontana
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714:Barilli, Renato (2009).
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395:Ambiente spaziale bianco
1728:Argentine male painters
1476:Michelangelo Pistoletto
1046:The Art Market Monitor.
987:April 20, 2012, at the
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864:Guggenheim Collection.
828:Reconstruction :
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371:Martha Jackson Gallery
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1753:Italian male painters
1289:Duke University Press
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1788:Brera Academy alumni
1609:Galleria La Bertesca
1555:Untitled (12 Horses)
1426:Pier Paolo Calzolari
1344:at Wikimedia Commons
931:(October 13, 2006),
534:edited a two-volume
504:Museum of Modern Art
408:(in the province of
402:Finch College Museum
300:Lucio Fontana, 1960
1279:Getty Publications.
1238:. Note: Sale price
1164:, October 18, 2008.
630:Richard Kostelanetz
471:Whitechapel Gallery
451:Bienal de São Paulo
227:under the sculptor
1626:Arte Povera (book)
1580:Arte Povera (1967)
1261:. August 28, 2019.
1236:Art Market Monitor
1027:2002-11-14 at the
938:The New York Times
910:2011-12-20 at the
758:Oxford Art Journal
632:, H. R. Brittain,
545:catalogue raisonné
538:catalogue raisonné
333:(1951) at the 9th
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233:Accademia di Brera
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1562:Venus of the Rags
1509:Concetto spaziale
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1302:978-1-897449-18-9
1200:The Art Newspaper
1181:The Art Newspaper
1144:The Art Newspaper
1125:The Art Newspaper
1082:Concetto spaziale
1061:www.metmuseum.org
1032:Walker Art Center
609:Sarah Whitfield,
514:in Genoa and the
506:in New York, the
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447:Walker Art Center
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668:on 2012-04-06
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70:Lucio Fontana
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55:February 2022
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1668:Found object
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1466:Pino Pascali
1446:Ondrej Mares
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443:Michel Tapié
440:
421:
418:Ovidio Lagos
414:
399:
394:
391:Documenta IV
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367:Michel Tapié
363:Murano glass
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239:art gallery
229:Adolfo Wildt
222:
210:
179:
178:
122:(1968-09-07)
52:
36:
34:lead section
1783:1968 deaths
1778:1899 births
1456:Marisa Merz
1385:Arte Povera
1022:(1964–1965)
747:, New York.
490:Collections
437:Exhibitions
355:Sam Francis
351:Mark Rothko
261:Spazialismo
111:, Argentina
1717:Categories
1663:Spatialism
1658:Dau al Set
1451:Mario Merz
1258:Christie's
1192:2018-01-08
1136:2018-01-08
1106:Christie's
1087:Christie's
1066:2020-12-14
841:2010-01-30
815:2010-01-30
672:2011-10-25
526:Art market
484:Met Breuer
423:La Capital
276:monochrome
241:Il Milione
207:Early life
197:Spatialism
172:Spatialism
97:1899-02-19
1695:Biography
916:Tate Etc.
890:(1959–60)
561:Sotheby's
335:Triennale
162:sculpture
140:Education
39:summarize
1707:The arts
1636:See also
1548:Sisyphus
1495:Artworks
1285:(2016).
1240:estimate
1025:Archived
985:Archived
908:Archived
553:Teresita
406:Comabbio
379:Teatrini
265:Albisola
211:Born in
201:abstract
184:Italian:
168:Movement
158:Painting
128:Comabbio
109:Santa Fe
1681:Portals
1618:Book(s)
1597:museums
1409:Artists
1393:Founder
1323:Fontana
428:Carrara
134:, Italy
105:Rosario
1515:Igloos
1503:Alberi
1315:
1300:
1103:(1969)
1084:(1953)
955:(1966)
888:Natura
862:(1959)
697:
640:
617:
496:Pietre
431:marble
410:Varese
324:Nature
320:quanta
245:France
132:Varese
1572:Shows
1527:Mappa
582:Notes
288:Tagli
284:Buchi
237:Milan
231:, at
148:Milan
1313:ISBN
1298:ISBN
695:ISBN
638:ISBN
615:ISBN
219:Work
117:Died
91:Born
397:).
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