Lucio Fontana, ‘Concetto spaziale, Attese’, 1965, Christie's

Signature: signed, titled and inscribed 'l. Fontana "La Carla Panicale mi à / scritto una lettera / Concetto spaziale / ATTESE/ HI / S / T / R / H"' (on the reverse)

Turin, Galleria Civica d'Arte Moderna, Lucio Fontana, February-March 1970, no. 232, fig. 216.

Boissano, Centre International d'Expérimentation Artistique Marie-Louise Jeanneret, Omaggio a Fontana, July-August 1983, p. 21, no. 15 (illustrated).

Varese, Villa Mirabello, Lucio Fontana: Mostra antologica, May-August 1985, p. 149, no. 82 (illustrated in color).

Castello di Rivoli Museo d’Arte Contemporanea, Lucio Fontana: La cultura dell'occhio, June-September 1986, pp. 63 and 122, no. 46 (illustrated).

Rome, Palazzo delle Esposizioni, Lucio Fontana, April-June 1998, p. 272, no. 4 P 13 (illustrated in color).

Rome, Museo del Corso, Tesori nascosti, May-July 2001, p. 39 (illustrated in color).

Genova, Palazzo Ducale, Fontana: Luce e Colore, October 2008-February 2009, p. 129 (illustrated in color).

E. Crispolti, Lucio Fontana, Essays par Jan van der Marck et Enrico Crispolti, Brussels, 1974, vol. I, p. 89, no. 65 T 21 (illustrated).

E. Crispolti, Lucio Fontana: Catalogue raisonné des peintures, sculptures et environnements spatiaux, vol. II, Brussels, 1974, pp. 158-159, no. 65 T 21 (illustrated).

E. Crispolti, _Lucio Fontana, Catalogo ragionato di sculture, dipinti e ambientazioni,_vol. II, Milan, 1986, p. 560, no. 65 T 21 (illustrated).

M. di Capua, "Quello dei tagli," Ars, May 1999, p. 76 (illustrated).

G. Ieranò, “Un taglio al passato”, Carnet, April 1999, p. 26 (illustrated in color).

E. Crispolti, Lucio Fontana: Catalogo ragionato di sculture, dipinti, ambientazioni, vol. II, Milan, 2006, p. 750, no. 65 T 21 (illustrated).

J. Littell, Le Benevole, Milan, 2007 (illustrated in color on the cover).

Galleria Notizie, Turin

Giovanni Traversa, Turin

Tommaso Fontana, Rome

Acquired from the above by the present owner

About Lucio Fontana

Throughout his prolific career, Lucio Fontana demonstrated a relentless interest in the relationship between surface and dimensionality. 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. Fontana implemented this theory in his series Concetto Spaziale (‘spatial concept’), punching holes in the picture plane and slicing through his canvases in order to expose the dimensional space beneath. Fontana’s innovative theories prefigured later developments in environmental art, performance art, and Arte Povera.

Italian, Argentine b., 1899-1968, Rosario de Santa Fe, Argentina