Lucio Fontana
Serie Rosa, 1966
Each signed in pencil, inscribed P.A., artist's proofs aside from the edition of fifty, …
Read moreEach signed in pencil, inscribed P.A., artist's proofs aside from the edition of fifty, published by Editorial Gustavo Gili, Barcelona, the full sheets, with deckle edges at left and right, generally in very good condition, each framed; with the original beige cloth-covered folder with the title in white on the …
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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.
Each signed in pencil, inscribed P.A., artist's proofs aside from the edition of fifty, …
Read moreEach signed in pencil, inscribed P.A., artist's proofs aside from the edition of fifty, published by Editorial Gustavo Gili, Barcelona, the full sheets, with deckle edges at left and right, generally in very good condition, each framed; with the original beige cloth-covered folder with the title in white on the …
Read moreThroughout 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.
