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Lucio Fontana, the inspirer of other worlds

2020-01-13T09:02:15.138Z


In Monfalcone weight and influence of the father of Spatialism (ANSA)


MONFALCONE - "I don't come to destroy, but to create a new way for painting". This was what Lucio Fontana said about himself, the author of the famous cuts and holes on the canvas, the brilliant father of Spatialism and source of stimuli and suggestions for many other great names in the art of the second half of the twentieth century. The exhibition that the Municipal Gallery of Contemporary Art in Monfalcone offers until March 2 is dedicated to the Italian painter, born in 1899 in Argentina, and to the "worlds beyond the canvas, between object and painting".

The curators Giovanni Granzotto and Leonardo Conti selected about thirty of his works among canvases, ceramics and papers, to highlight the themes that, between the end of the 1940s and 1968, the year of his death in Varese, represented a radically different way of conceiving painting. Fontana's work is therefore seen as an incipit of contemporary artistic research. A lesson for other figures - from Piero Manzoni to Agostino Bonalumi and Enrico Castellani, from Alberto Biasi to Gianni Colombo, from Mario Deluigi to Tancredi and Morandis, from Roberto Crippa to Gianni Dova, up to Giuseppe Santomaso, Ettore Spalletti, Nunzio, Ben Ormenese , Sandro Martini, Riccardo Licata, Gastone Biggi and others - through which the curators have built the exhibition itinerary with about fifty of their works in which the master's worlds can be recognized.

"Lucio Fontana is not a conceptual artist - explains Granzotto -. He never diverged from his traditional baroque matrix. Cuts and holes indicate a new conception of making painting while remaining within art, without exceeding the importance of the creative gesture. The cut it is not a refusal, but the proposal of another pictorial world ". In the cycle "Spatial-Expected Concepts", started in 1958 and continued for a decade, the artist engraves the canvas with the blade with a sculptor gesture overcoming the limits of "flat" representation, with the result of a three-dimensionality that together with light creates an unprecedented relationship with space. The works exhibited in Monfalcone offer a detailed panorama of the artist's itinerary, trained in Buenos Aires following his sculptor father and then moving to Milan, and tell how much the master of Spatialism influenced "also in human terms for his generosity" i close colleagues and those further away from him for history and research. "Fontana is an absolute genius of the 1900s - remarks the curator -. It is worth a lot, but it is nothing compared to the astronomical quotations of certain contemporary American jokes, the result of a ridiculous bubble that smacks of" military "and merchant operation. He is a leader of the Italian art of the 1900s, one of the great ones, such as Burri, Afro, Vedova ".

The exhibition is a new version, with some additions and reinterpretations, of the exhibition 'Lucio Fontana, his long shadow' held last summer at the Regional Archaeological Museum of Aosta. The section dedicated to the protagonists of Spatialism brings together the Lombard and, above all, Venetian artistic experiences between 1948 and 1958: Fontana's ideas are grafted into Venice in a pictorial atmosphere already oriented by decades of experience on the light of Virgilio Guidi and Mario Deluigi towards a new idea of ​​pictorial space. The section 'Azimut and surroundings' describes the creative ferment which, in the context of the fascination exerted by the Fontanian intuitions, produced the brief experience of the magazine "Azimuth" and the gallery Azimut, founded in Milan in 1959 by Piero Manzoni and Enrico Castellani. "Structures of space" supports the works of artists who concentrated their research on "formal and metaphorical" relationships with space. Finally, in "A new painting" there are the works that elaborate Fontana's announcements for a painting "that becomes almost feeling or spatial moment".

Among the suggestive canvases of the master stand out, in particular, the cuts on a red background and a fundamental "Spatial Concept" of 1955. "The cuts and the holes constitute the layout of a sidereal path - observes Granzotto - a pictorial vision of space. demonstration that while making the revolution, Fontana does painting ".

Source: ansa

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