For the first time in France since 1987, more than 200 sculptures, paintings, ceramics and installations … Just as human kind continued to push beyond the familiar boundaries of time and space in scientific and mathematical realms, so too did Fontana ask artists and viewers alike to reimagine the established norms. Moving away from the creative gesture that directly stemmed from the physical, inspired movements of the artist's hands, Fontana's cuts are products of a sharp knife that minimize the trace of the artist's body and mind. LUCIO FONTANA1899 - 1968 CONCETTO SPAZIALEsignedengobed terracotta, holes, incisions and graffiti, black and whiteExecuted in 1951-52This work is registered in theFondazione Lucio Fontana, Milan, with the n.4323/1and it is accompanied by a photo-certificate issued by theFondazione Lucio Fontana, Milan. These ambienti spaziali immediately followed the First and Second Spatialist manifestos of the late 1940s, in which Fontana and other artists called for the integration of science and art through the embrace of modern technology in artwork and the recognition of the creative possibilities within scientific discovery. ©2021 The Art Story Foundation. Four more books followed under Mortimer with cover art by James Lowe based on circles: The cover concept was dropped after this and a new design was used that featured a portrait of the Modern Master as a line drawing or later a tinted photograph, and mixed serif and sans-serif typefaces, upright and italic fonts, block capitals, lowercase letters and faux handwriting. All Rights Reserved. With the addition of the glass pieces, Fontana transformed the space of the painted canvas into a kinetic field, where the properties of the physical world came in contact with the imagination and creative actions of the artist. He is mostly known as the founder of Spatialism. The first five titles were published on 12 January 1970 by Fontana Books, the paperback imprint of William Collins & Co, and the series editor was Frank Kermode who was Professor of Modern English Literature at University College London. The surface of the sculpture reveals the artist's hand, with visible marks indicating the development of the form. All fontana paintings ship within 48 hours and include a 30-day money-back guarantee. With this label, Fontana draws attention to the ongoing possibilities that lie in the unknown future, as well as man's perception of time as a psychological experience as much as a physical one. Unlike the smooth surfaces of the monochrome tagli works and the precise, straight edges of the cuts along the canvases, the textured holes of the olii series reveal the physical movements of the artist in an anxious, fretful way. Fontana further enhanced the spatial complexity of the puncture by applying thick layers of white oil paint around the opening's edges. Artwork page for ‘Spatial Concept ‘Waiting’’, Lucio Fontana, 1960 In 1959, Fontana began to cut the canvas, with dramatic perfection. The cut itself would serve as the concept, the process, and the product all in one, creating a new image out of both the desire to break apart assumed barriers and the gesture to open up new visible and invisible spaces. "Lucio Fontana Artist Overview and Analysis". One of his most celebrated works Spatial Concept: Waiting consists of a single cut on a warm, brown-hued canvas. The tension between presence and absence in the tagli canvases forces the artist and viewers alike to rethink common assumptions about the creative process, allowing a seemingly destructive gesture to be a constructive moment, as it creates a new region for art to exist by breaking apart another. The shape of the terra-cotta slab resembles the grave stones and funerary sculpture that Fontana's father had created for his clients, yet Fontana decided to disrupt this resemblance by adding implied depth to the image rather than allowing the flat surface to support similarly flat visual or textual content. [Internet]. Slashed canvas and gauze - Museum of Modern Art, New York. Once he broke the surface of the canvas with his buchi series, Fontana's experiment with more pronounced punctures on the picture plane continued. With these references in mind, Fontana's sculpture is not only a product of a past creative moment that exists in the present for the viewer, but it also indicates the timeless quality of objects in space. Each cover was thus a piece of abstract art, but as an incentive for readers to buy all ten books the covers could be arranged to create a larger, composite artwork. Sep 25, 2013 - This Pin was discovered by Stephanie Tamez. Italian Painter, Sculptor, and Conceptual Artist. By assembling these environments, Fontana challenged viewers to understand the artwork as a spatial experience rather than a fixed object. The movement focused on the spatial qualities of sculpture and paintings with the goal of breaking through the two-dimensionality of the traditional picture plane. 15 Ridiculous Pieces Of Art That Sold For Millions Of Dollars Uploaded 08/03/2015 Meanwhile in the countries with first world problems. Just as modern life was quickly embracing forms that could be experienced without being physically seen or felt, such as telecommunications and advancements in math and physics, modern art could similarly be composed of intangible elements, like bright lights and shadows, and reflect movement and stillness. Amazon.com: Orazio Fontana - 20x24 Modern Black Framed and Double Matted Art by Museum Prints Titled: Pilgrim Bottle: Posters & Prints This biography is from Wikipedia under an Attribution-ShareAlike Creative Commons License. Fontana formulated the theory of Spatialism in a series of manifestos dating from the late 1940s to early 1950s, proposing that matter should be infiltrated by energy in order to generate dimensional, dynamic artistic forms. 'Oliver Bevan: In Search of Utopia'. While the viewer's mind may fill in the spaces between the punctures, creating whirling lines across the canvas, the composition is not intended to be strictly representational. The cover concept was the brainchild of Fontana's art director John Constable, who had been experimenting with a cover treatment based on cut-ups of The Mud Bath, a key work of British geometric abstraction by the painter David Bomberg. “We need a new form. Discover (and save!) (firmatoterracotta ingobbiata, buchi, incisioni e graffiti, … Originally designed with architects Luciano Baldessari and Marcello Grisotti to be installed above the main stairway of the IX Triennale of Milan, this amorphous neon sculpture is an example of Fontana's Ambienti spaziali, or spatial environments - a fascinating thread of fleeting installation works that reflect the artist's interest in diverse media. Now, over forty years later, the artist has released Cascade as a limited edition signed print. Choose your favorite fontana paintings from millions of available designs. In these later olii works, Fontana made aesthetic choices that implied emotions, such as anxiety and restlessness, offering a raw, almost primitive, glance at the creative impulse. See more ideas about lucio fontana, fontana, art. In Fontana's tagli paintings, the monochrome gave the slices center stage, as opposed to Klein's monochrome, which celebrated the color on its own and the genius the artist claimed in its simplicity. At the time Fontana was creating his buchi cycle, he was also working closely with post-war Italian architecture projects, including ceiling decorations for cinema houses that included punctures, or holes, creating an illusion of the cosmos hovering above. With an economy of means, Fontana asserts his fascination with the technologies that increasingly dominated modern life in the post-war years. Fontana chose to call these works concetti spaziale (spatial concepts) rather than paintings, revealing his intense interest in recognizing the role of the surrounding space. Instead, these phenomena are properties and forces that man constantly interacts with. Sculptor, painter, and theorist Lucio Fontana is internationally renowned as one of the most innovative artists of the 20th century. Even though his early works like Figure Nere are meant to be seen from one, frontal angle, Fontana was already exploring the idea of manipulating the materials to evoke a sensation of physical space in the image. In these abstract works, Fontana anticipates later art practices that involve the physical movement of parts in artworks, such as Kinetic art, as well as those that engage real-time interactions between artist and viewer, such as Performance art. Fontana was aware of the potential tension between objects and space, noting in his writings that art forms, such as paintings and sculptures, can occupy space by adding to the existing environment through tangible materials and through intangible effects (such as shadows). Amazon.com: Orazio Fontana - 20x20 Modern Black Framed and Double Matted Art by Museum Prints Titled: Dish with Jacob's Dream: Posters & Prints In April 1917, an ordinary piece of plumbing chosen by Duchamp was submitted for an exhibition of the Society of Independent Artists, the inaugural exhibition by the Society to be staged at The Grand Central Palace in New York. Considered one of the greatest visionaries of the 20th century, his work deeply influenced several generations of artists, from Yves Klein to the present. As a close friend of Klein, Fontana shared this rejection of the dominant tendencies, although Fontana is not considered to be the unorthodox, satirical imp of abstraction as Klein was. In advance of the auction, browse lots and place max bids before live bidding begins in Milan, Italy on Thursday, October 22nd at 4:00pm CEST (10:00am EDT). “Sculpture and painting are both things of the past,” argued Fontana. The Fontana Modern Masters occupy a unique place in publishing history - not for their contents but their covers, which draw on the following developments in twentieth-century art and literature: In Duchamp's presentation, the urinal's … The Fontana Modern Masters were great if you loved deep thinking and even better if you loved great art, with the first ten covers forming a cut-up of Oliver Bevan's Cascade. To further encourage the energetic quality of these works, Fontana added impasto (large clumps of paint) in swirling patterns around the holes and glass pieces. As with his holes and cuts, the horizontal gash in the Natura sculptures are the physical traces of a decisive artistic movement, implying the motion and energy of the art making process while also suggesting the opening up of new areas where art can exist. The Fontana Modern Masters was a series of pocket guides on writers, philosophers, and other thinkers and theorists who shaped the intellectual landscape of the twentieth century. of covers for the first ten Fontana Modern Masters in 1970-71. The works in the tagli cycle, were given unique subtitles that depended on the number of cuts present in the canvases. Not long after Fontana experimented with punching holes in his canvases, he also experimented with adding objects on top of his canvases. A 4:30 p.m. reception, also in Mabee Hall, will precede the lecture. By 1960, Fontana restricted the number of tagli to between one and five after initial experimentations with several cuts running across the material's surface. See more ideas about lucio fontana, fontana, contemporary art. Fountain is a readymade sculpture by Marcel Duchamp in 1917, consisting of a porcelain urinal signed "R. Mutt". Rather than creating an image by layering colors and lines on top of the canvas, Fontana's work creates an image through the direct engagement of both the canvas's physical properties and the space that exists around it. *Paint nights are $7 per participant, materials provided. Oil on canvas - Walker Art Center, Minneapolis, Content compiled and written by The Art Story Contributors, Edited and revised, with Summary and Accomplishments added by Meggie Morris. This late concetto spaziale work, completed during the final year of the artist's life, features thick, impasto oil paint surrounding the central hole, representative of Fontana's olii (oil) technique. The events, part of… [Read More] With this series of works, Fontana returns to constructing layers of paint upon the surface of the canvas while also rendering gaps in the physical support, forcing the artwork to spread out in different directions that project towards viewers and recede from them at the same time. Thick amounts of paint, energetically ripped holes in the canvas, and scratched lines into the paint surface seem hastily made, remnants of frenetic physical movements and an unsettled state of mind. This medium-sized work (measuring 40 x 32 inches) is a warm, ochre-toned monochromatic plane, sliced by one of these signature tagli, which created a dynamic vertical, slightly right-leaning diagonal line down the center of the canvas. Friday, January 22 @ 5:15pm-6:45pm: Kid's Paint Night - Winter Wonderland Friday, February 5 @ 5:30pm-6:30pm: Little Tykes Paint Night - Arts & Hearts Please click here for more information or to register for these upcoming events. Sculpture Modern Art Lucio Fontana Century Art Drawings Statue Art Event Italian Design Paris – Lucio Fontana: Retrospective at Museum D’Art Moderne Through August 24th, 2014 Global contemporary art events and news observed from New York City. Thus, Fontana never completely gave up on the role of the artist, though the shapes he produced were intended to draw attention to the natural phenomena surrounding us that are not direct products of man's creation. Fontana conveys these themes through his simplicity of forms, allowing the materials to carry meaning even in their understated appearances. However, a visit to the Grabowski Gallery in London introduced Constable to the work of Oliver Bevan, a graduate of the Royal College of Art in 1964, whose optical and geometric paintings were influenced by Vasarely's Op Art. These cuts (or tagli) were carefully pre-meditated but executed in an instant. Yet, these forms in themselves are not the same as the space around them, prompting Fontana to search for methods to rectify these inherent boundaries. Escaping the political … The repeated cuts appear almost machine made, insisting on the productive quality of modern mechanisms rather than the timeless value of the artist himself. your own Pins on Pinterest Lucio Fontana Concetto Spaziale from Six Original Etchings (Sei Acqueforti Originali) 1964 Francesco Somaini, Giò Pomodoro, Achille Perilli, Gastone Novelli, Roberto Crippa, Alik Cavaliere, Pietro Cascella, Arnaldo Pomodoro, Lucio Fontana, Enrico Baj, Various Artists L'Albero Poeta 1966. The elegant bends of this neon sculpture appear as random meandering, the quintessential doodle on paper, yet the expansive scale and modern medium elevates the object to a sensational and environmental status. Lucio Fontanawas an Argentine-Italian artist known as the founder of Spatialism. With the tagli, Fontana abandoned any effort to provide additional ornamentation on top of the canvas, as he did with buchi works. The Fontana Modern Masters occupy a unique place in publishing history - not for their contents but their covers, which draw on the following developments in twentieth-century art and literature:[2][3]. Artsy presents Finarte: Modern and Contemporary Art, featuring works by Lucio Fontana, Shepard Fairey, Ellsworth Kelly, and more. Figure Nere is an example of Fontana's early ceramic sculpture, featuring a rough-hewn, rectangular terra-cotta slab with two black silhouetted figures, a taller one behind a shorter figure in the front. The 'set of ten' books appeared in 1970-71 but overran when Joyce was published with the same cover as Guevara: A second 'set of ten' featuring a new Bevan cut-up was published in 1971-73 but the inclusion of Joyce in the first 'set of ten' left this second set one book short: A third 'set of ten' featuring Bevan's kinetic Pyramid painting began to appear in 1973-74 but Constable left before the set was complete and his replacement, Mike Dempsey, scrapped the set-of-ten incentive after eight books: Dempsey switched the covers to a white background and commissioned a new artist James Lowe, whose cover art for the next eight books in 1975-76 was based on triangles: Nine more books appeared in 1977-79 with cover art by James Lowe based on squares: Dempsey left Fontana Books in 1979 but continued to oversee the Modern Masters series until a new art director, Patrick Mortimer, was appointed in 1980. In his series known as the pietre (stones) Fontana added small pieces of colored glass to his paintings that contained his signature holes. To do this he devised a 'Fontana Colour Chart' based on the covers of the published books, and a scoring system that - like his paintings - was deliberately flawed. Fontana deliberately wanted his audience to feel disoriented when experiencing these installation works - sometimes keeping the installation environments in darkness, with the neon lights as the only illumination in the exhibition space - drawing attention to the unsettling sensations that accompany journeying into the unknown. 'The Shape of the Century'. Fontana recalls the art of earlier civilizations and introduces elements of modern art in this work, harkening back to Ancient Greek black-figure pottery in both style and name while playing with the multiple perspectives that fascinated modern abstract artists, such as the Cubists and Futurists. When the sale opens, all pre-registered Artsy users can participate and watch the bidding … The eventual tension and psychological conflict that results from the constant march of progress is not ignored by Fontana, regardless of his tireless curiosity. His new gesture of slicing through the canvas material gave a new series of works begun in 1958 the name tagli (cuts). However, Shovlin also noticed ten forthcoming titles listed on the books' front endpapers which, for reasons unknown, had not been published: Shovlin then set out to paint these 'lost' titles and thus 'complete' the series. Dr. Jeffrey Fontana, Austin College associate professor of art history, will present “Up Close and Personal: Getting to Know Some Famous Ancients and Not-So-Famous Moderns” on Wednesday, October 25, at 5 p.m. in Mabee Hall of Wright Campus Center. Fontana's early training in sculpture and carving is evident in a series of sculptural concetti spaziale works: terra cotta shapes subsequently cast in bronze, each work subtitled Natura (Nature). Fontana Arte offers products with a contemporary look with clean lines and a minimalistic style In attempting to further remove the distinctions between different objects and the spaces they occupy, including living beings and their natural environments, Fontana plays with different techniques that at once illuminate and obscure the artist behind the art work. Here, we are presented with a monochromatic white canvas that defies its apparent simplicity with the artist's delicate, serpentine marks, making three rings around an aggressive puncture in the center. The holes suggest the realms of stars in outer space that were becoming more accessible and understood than ever before, and Fontana's embrace of the unknown voids of space reveal his fascination with the laws of physics, his excitement about man's journey into new physical and intellectual realms, and his genuine belief in the productive partnership of science and art during a time of post-war optimism and innovation. There is a side table, two coffee tables and a console/sofa table. Jahrhunderts. Lucio Fontana wurde mit Messer und Pinsel zu einem der experimentierfreudigsten und innovativsten Künstler des 20. A beautifully elegant piece which was selected by the Museum of Modern Art for their permanent collection. In his quest for a new spacial art form that overcomes the limitations of the two-dimensional canvas, Fontana proves to be one of the most experimental and innovative artists of the 20th century – and one that has since then formed and inspired younger generations of artists. Fontana's rough-edged bronze sphere is interrupted by a horizontal slit across the center, lending a surprisingly energetic quality to this fixed object, which sits directly on the gallery floor. By depicting one black human figure seemingly in front of another, with a significant strip of white clay obscuring the left side of the black figure to the right, Fontana reveals a physical gap in space between the two figures, showing the depth of the ambient space as it appears and is experienced in the real world. Jan 9, 2016 - Explore Torie Nimmervoll's board "Art - Lucio Fontana", followed by 325 people on Pinterest. Not only was he extending the space of the artwork behind the canvas by exposing this area through punctures, he was also extending the space forward, as the colored glass pieces projected toward the viewer. Fontana intended to add movement to these works, hoping the light could travel through the pietre on top of the painting and also through the canvas itself with the buchi. Concentrated in the center of the canvas, not quite reaching the edges, the shapes and overall spectacle suggested by the holes create another dimension beyond the typically flat surface of a regular painting. Even as Fontana encouraged active conversation between technological mechanisms and sophisticated scientific principles with the process of art making, he was able to maintain the central role of the artist, the human presence. The title for this series of sculptures, Natura, recalls objects and experiences that are present if not strictly visible in the artwork, such as the elements of the natural environment on Earth as well as the natural elements orbiting around us in space. Painted clay - Fondazione Lucio Fontana, Milan. These use a similar scoring system to his watercolours of 2003-05 and a new 'Acrylic Variations Colour Wheel'. Here, much like the simple yet impactful shapes produced by the cuts in his painted canvases, Natura has an elemental, raw appearance. On seeing Bevan's work, Constable commissioned him to create the covers for the first ten Fontana Modern Masters, which Bevan painted as rectilinear arrangements of tesselating blocks. The Musée d’Art moderne de la Ville de Paris presents a major Lucio Fontana (1899-1968) retrospective. Acrylic on canvas - Museo Reina Sofía, Madrid, Spain. 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