Beginning 13 February, ‘Lucio Fontana.

Le nom des œuvres sont écrits en italien comme "Concetto spaziale, Attesa" qui veut dire "Concept spatial, Attente". Artwork page for ‘Spatial Concept ‘Waiting’’, Lucio Fontana, 1960 In 1959, Fontana began to cut the canvas, with dramatic perfection. Fontana first began puncturing the surface of,Fontana experimented with both the size and shape of the,In the instances where Fontana slashed an unpainted canvas, as in the present work, there is a particular affinity between the rawness of the surface and the primordial character of the gesture itself. Lucio Fontana (Italian: [ˈluːtʃo fonˈtaːna]; 19 February 1899 – 7 September 1968) was an Italian painter, sculptor and theorist of Argentine birth. Lucio Fontana ‘the hole is the beginning of a sculpture in space’ Lucio Fontana ‘[Fontana] is the enemy of media purity, and chooses the ambiguous borders between the arts, where paintings look like sculpture and sculpture meets painting halfway, in a series of overlappings and conflations’ Lawrence Alloway Now open — updates to our global locations.Beginning 13 February, ‘Lucio Fontana. Avant-garde art school (Academia Altamira) in Buenos Aires, Argentina, founded in 1946 with the aim of promoting the idea that …,Italian movement started by the Argentine-born Italian artist Lucio Fontana in 1947 who, in its manifesto, stated that art should …,Edward Platt Please.Lucio Fontana (Italian: [ˈluːtʃo fonˈtaːna]; 19 February 1899 – 7 September 1968) was an Argentine-Italian painter, sculptor and theorist.

Fontana’s works have been exhibited numerous times internationally, and his first solo exhibition was at Galleria del Milione in … Biografia. He is mostly known as the founder of Spatialism.Information from Wikipedia, made available under the,Information from Getty’s Union List of Artist Names ® (ULAN), made available under the,Expressdienst Nach Allen Erdteilen, Italia-Codulich-Lloyd Triestino-Adria,Services Express Pour le Monde Entier (Poster advertising the four United Italian shipping lines [Italia Flotte Riunite, Consulich S.T.N., Lloyd Triestino and Adria]),Francesco Somaini, Giò Pomodoro, Achille Perilli, Gastone Novelli, Roberto Crippa, Alik Cavaliere, Pietro Cascella, Arnaldo Pomodoro, Lucio Fontana, Enrico Baj, Various Artists,Creative Commons Attribution-ShareAlike License.

Executed in Milan from 1949 to 1951, Fontana used unconventional materials such as fluorescent tubing to integrated painting and architecture – thus making the physical presence of the spectator an essential component of his work. Elain Harwood A pioneer of the New York School, Ed Clark (1926 –...Beginning 16 June, Hauser & Wirth Hong Kong presents ‘Special Characters’, the first solo exhibition in Greater...As a preventative measure based on the latest statewide mandates, the galleries have been closed to the public until further notice. His first comprehensive presentation in America took place in 1966 at the Walker Art Center, Minneapolis, Minnesota, where he exhibited ‘Ambiente spaziale’ [Spatial Environment] (1966). See more ideas about Lucio fontana, Fontana, Art. In 1927 Fontana returned to Italy and studied alongside,Following his return to Italy in 1948 Fontana exhibited his first.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.Fontana engaged in many collaborative projects with the most important architects of the day, in particular with Luciano Baldessari, who shared and supported his research for,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 Stanley knife to create great fissures in their surface. Destruction and creation were bound together in these works. According to Anthony White, “the monochrome surface invited the viewer to read the cut paradoxically, as figure on ground. Like the holes in some of his other canvases, they have the effect of drawing the viewer into space. Wilhelm Sasnal,Edward Platt, Sasha Devas, Elain Harwood and Wilhelm Sasnal reflect on a work in the Tate collection,Colour glass lantern slide with a paper cut-out of a plant against a coloured background.

and In this way, Fontana anticipates the achievement of minimal sculptors such as Dan Flavin. Among the first to use neon in an environmental application, Fontana reveals the plastic dynamism of the material, as if writing with light, integrating ideas of space, time, and movement in a single form.Continuing an in-depth exploration of Fontana’s spatial practice and his interest in architecture, the exhibition next takes visitors through two environments, each entitled ‘Ambiente spaziale: “Utopie”, nella XIII Triennale di Milano’ [Spatial Environment: “Utopias”, at the 13th Milan Triennale], both originally shown at the 13th edition of the Milan Triennale in 1964 and realized in collaboration with architect and artist Nanda Vigo.

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