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.
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.
To know more about Lucio Fontana please visit here : http://www.blouinartinfo.com/artists/lucio-fontana-3323
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.
To know more about Lucio Fontana please visit here : http://www.blouinartinfo.com/artists/lucio-fontana-3323
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