Jan 9, 2016 - Explore Torie Nimmervoll's board "Art - Lucio Fontana", followed by 325 people on Pinterest. 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: 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. 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. "Lucio Fontana Artist Overview and Analysis". What's more, the colored glass pieces allowed the physical element of light surrounding the painting to become an active agent in the image as light was captured and reflected by the individual objects. A 4:30 p.m. reception, also in Mabee Hall, will precede the lecture. 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. 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. 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. Make & Create is $5 per participant, materials provided. 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). He is mostly known as the founder of Spatialism. Lucio Fontana (Italian: [ˈluːtʃo fonˈtaːna]; 19 February 1899 – 7 September 1968) was an Argentine-Italian painter, sculptor and theorist. All Rights Reserved. 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. 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. 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 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. 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. 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. An Italian sculptor, painter, and theorist who was born in Argentina is best known as the founder of Spatialism and his ties to Arte Povera, a modern art movement introduced in Italy in 1967. His new gesture of slicing through the canvas material gave a new series of works begun in 1958 the name tagli (cuts). Jahrhunderts. Escaping the political … Sculptor, painter, and theorist Lucio Fontana is internationally renowned as one of the most innovative artists of the 20th century. Apr 25, 2017 - Explore Rick Prol's board "Lucio Fontana", followed by 342 people on Pinterest. Fountain is a readymade sculpture by Marcel Duchamp in 1917, consisting of a porcelain urinal signed "R. Mutt". 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. 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. (Prints executed 1965-1966). As the father of the spatialism concept, Fontana was at the helm of important developments in the modern art … 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. 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. 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. Dec 8, 2014 - Explore Ian Andrés Barragán's board "Lucio Fontana" on Pinterest. 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. 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). The Fontana series consists of four tables in various sizes. 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. 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. See more ideas about lucio fontana, fontana, contemporary art. The repeated cuts appear almost machine made, insisting on the productive quality of modern mechanisms rather than the timeless value of the artist himself. In his series known as the pietre (stones) Fontana added small pieces of colored glass to his paintings that contained his signature holes. The design was used for reprints and six new titles: Fontana's use of art as book covers went full circle in 2003-05 when the British conceptual artist Jamie Shovlin 'reproduced' the covers of the forty-eight Fontana Modern Masters from Camus to Barthes as a series of flawed paintings (the titles are missing and the colours have run) in watercolour and ink on paper, each measuring 28 x 19 cm. Lucio Fontanawas an Argentine-Italian artist known as the founder of Spatialism. 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. Discover (and save!) Through his punctures to the surface of these works, he made the invisible space an important, visible component of the art making practice and product. One of his most celebrated works Spatial Concept: Waiting consists of a single cut on a warm, brown-hued canvas. Once he broke the surface of the canvas with his buchi series, Fontana's experiment with more pronounced punctures on the picture plane continued. 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. The surface of the sculpture reveals the artist's hand, with visible marks indicating the development of the form. of covers for the first ten Fontana Modern Masters in 1970-71. He is mostly known as the founder of Spatialism. With an economy of means, Fontana asserts his fascination with the technologies that increasingly dominated modern life in the post-war years. These swirls of paint drag the viewer's gaze back and forth and up and down across the canvas, inviting the viewer to participate in the energetic journey into the space of the artwork. 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. Instead, these phenomena are properties and forces that man constantly interacts with. One of those artists is the legendary Lucio Fontana. Given these flaws, and those in Fontana's original series, the absence of any modern masters from the visual arts is notable,[4] since Matisse was one of four 'forthcoming titles' which Shovlin had apparently overlooked: Benjamin and Matisse have since been included in a new series of seventeen large Fontana Modern Masters that Shovlin painted in 2011-12. 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. *Paint nights are $7 per participant, materials provided. 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. U pcoming Interactive Art Events. 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. 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