Lucio Fontana and Ceramics Sculpture Analysis

One of the foremost innovative artists of the 20th century, Argentine-Italian creator Lucio Fontana (1899–1968) regularly challenged the boundaries of art creating and therefore the role of the creator, employing a wealthy vocabulary of fabric, form, and action. Though best far-famed for hisConcettiSpaziale—the spatial environments and slashed canvases he created within the 1950s and 1960s—clay modeling and ceramics have continuously been central to his method.

The sweetness of likelihood and accident, evident from the beginning in Fontana’s use of ceramics, becomes a powerful current in abundant of the artist’s later work, and a few of his 1st ConcettiSpaziale were completed in clay before canvas.

Beginning within the 1930s, Fontana made a body of baroque ceramic add that he engaged the issues of each painting and sculpture(buy Lucio Fonata artworks online) in innovative and productive new ways which were apparently figurative, with material as varied as battle scenes and flowers, these communicative works gain a raw immediacy from Fontana’s vigorous hand modeling because the clay becomes a register of the artist’s method.

This direct, forceful manipulation of the purity of the surface conjointly prefigures the violence of the ConcettiSpaziale.

Comprising work from the Forties through the 60s Lucio Fontana: Ceramicswas the primary depository exhibition dedicated only to the artist’s groundbreaking ceramic work.

Fontana began specializing in ceramics atAtelier Mazzottiin Albisola, Liguria, wherever he typically stayed since 1936.

Albisola was a perfect location for his way (close to the ocean, to his friend TullioMazzotti – a potter – and to his network of Futurist friends) moreover as for his work (with kilns without delay available).

Before venturing into polychrome, sparkling sculptures, Fontana created a series of huge items in ceramic ware and clay, with a rough texture and earthy colours.Themes were in all probability instructed by Albisola’s surroundings itself: ocean floor scenes, feminine figures, still lifes and numerous animals. His artworks’ always about spatial level or animal figurative that makes him one of the unique artist and sculpture.

Fontana, not like Futurist painters, ne'er strived to represent the movement of life; instead, he affected movement into matter itself, turning it into one thing organic. Fontana's sculptures appear to be the antithesis of his monochrome paintings, as if he took an occasion from his minimalist philosophy to ponder faith, history, the raw feeling of life, and therefore the strength of humanity.

The influence of Hellenistic and Roman art, moreover because the Calvary paintings ofHieronymus old master, may be seen in Fontana's almost-abstract "Battaglia" sculptures from 1947-48. At times, these scenes of battles and turmoil possess the grace of performing arts figures, however at others they're animated with harmful virility.

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Biography of Lucio Fontana

The Italian painter, sculptor and theorist of Argentine birth was born in (19 February 1899 – 7 September 1968) Rosario, province of Santa Fe, Argentina. Founder of Spatialism and his ties to Arte Povera where he mae a series of works called Spatial Concept, Waiting. These works have been done on a canvas that has been cut either once or multiply, are collectively known as the Tagli ('cuts').

He was working as a sculptor along with his father  until 1922, then on his own. He participated in the first exhibition of Nexus Already where a group of young Argentine artists work in Rosario de Santa Fé in 1962.

In 1930 under the sculptor Adolfo Wildt, he presented his first exhibition in organized by the Milano art gallery Il Milione. he then journeyed to Italy and France during the following decade working with abstract and expressionist painters. He joined the association Abstraction-Création in Paris in 1935. In 1939, he joined the Corrente, a Milan group of expressionist artists. 

The Altamira academy was founded by him together with some of his students n Buenos Aires (1946). and made public the White Manifesto. the Allied bombings of Milan destroyed his studio and works completely but soon also resumed his ceramics works in Albisola. He then collaborated with noted Milanese architects in Milan to decorate several new buildings that were part of the effort to reconstruct the city after the war.

He exhibited his first Ambiente spaziale a luce nera (Spatial Environment)  at the Galleria del Naviglio in Milan. It was during the late 1940s that Lucio Fontana first began puncturing the surface of paper or canvas in the blurring which made a distinction between two and three dimensional. Through the 1950s and 1960s, he recognize the importance of this innovation, he continued, and seek different ways of developing the hole as his signature gesture.

It was during the late summer and early autumn of 1958 that the  first Tagli were made. They comprised small, often diagonal notch, composed in groups over unprimed canvases. By 1959 these tentative slits developed into single, more decisive slashes, as in the present work.

Around 1960 his highly personal style was characterized up to that point, he covered canvases with layers of thick oil paint applied by hand and brush and using a scalpel or Stanley knife to create great fissures in their surface.

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Buy Lucio Fontana paintings online

Lucio Fontana was an Italian painter, sculptor and theorist was born in 19 February 1899 and died on 7 September 1968 Rosario, province of Santa Fe, Argentina. He was the son of the sculptor Luigi Fontana. He was the founder of Spatialism and his ties to Arte Povera.

He was working as a sculptor until 1922 along with his father, and then on his own. The first exhibition he participated was of Nexus Already in 1926, a group of young Argentine artists working in Rosario de Santa Fé.

In 1930 under the sculptor Adolfo Wildt he presented his first exhibition organized by the Milano art gallery Il Milione. He then traveled to Italy and France, working with abstract and expressionist painters during the following decade. Together with some of his students they found the Altamira academy in Buenos Aires (1946) and made public the White Manifesto.

Fontana dedicated to his wife a rare, large crimson work with a single slash, which  known as the Teresita, costing about £6.7 million  at Christie's London in 2008. then an auction record for the artist. In 2015, Fontana’s Concetto Spaziale, Attese (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 Sotheby's London

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Lucio Fontana painting "Concetto Spaziale"

Fontana grew up in Italy and was born in Argentina. He was working as a sculptor along with his father  until 1922,  then on his own. He participated in the first exhibition of Nexus Already where a group of young Argentine artists work in Rosario de Santa Fé in 1962.

He published the Manifesto Blanco with first ideas on Spatialism, when he went back to spend the World War II in Argentina lifting 'spatial' qualities of art above the visual and aesthetic ones. Fontana came back to Italy and in 1947 after the war and published the Manifesto dello Spazialismo.

Fontana acknowledged to this new world with art that was created across and almost without regard of the artistic media. Fontana was looking for a new way of using and seeing the canvas, approaching a painting as if it were a sculpture an inviting the viewer to see the work from a new angle.

Concetto Spaziale, 1952 is an outstanding constellation of holes that are dispersed across the soft red surface of the canvas, showing to be both accidental and carefully organized at the same time. This work  was executed in 1952, an is an early example of the Buchi series. It was started by Lucio Fontana in 1949 to examine the sculptural qualities of paintings, experimenting with space, time and light.

Concetto Spaziale, 1952 is muddled with holes of different sizes, which are times large and small at times. They are barely noticeable, just like the stars when we look at the night sky as some stars shine shine bright and others are almost invisible, resembling fine white dust.

For Fontana, these act of entrance- whether they were just a whirl, or carefully arranged and executed holes - were a passage into the unknown. The surface of Concetto Spaziale, 1952  echos  vast outer space as they are painted in thick oil might be warm red, but its heart is black. Fontana was the one who photographed the Buchi works with the intention of the light coming through the holes, inducing luminous stars and the cosmos and producing works that almost seen as portals into space and time.

It was during  Fontana's career that the Concetto Spaziale, 1952 was created  and he his most experimental phase. The canvases og Fonatana would be pushed beyond their basic two-dimensionality and create them as neither sculpture nor painting but create original creations, practically breaking the canons of the history of art in the process. Fontana's canvases are highly intellectual, and convince the viewer to walk away around them and have a closely look into them in order to see beyond their surface.

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