图片文件尺寸 : 4374 x 5948px
LUCIO FONTANA:Concetto spaziale, natura
1967
each incised with the artist\'s signature and numbered 65/500 on the underside
bronze
each 10 1/2 by 8 1/4 by 8 in.; 26.7 by 21 by 20.3 cm.
This work was executed in 1967 and is number 65 from an edition of 500.
卢西奥·丰塔纳 空间概念，自然1967
图片文件尺寸 : 2064 x 3016px
“对一个裸体男性青年的研究，以及普罗斯佩罗·丰塔纳对推杆的小型研究-Prospero Fontana
Study of a nude male youth, and a small study of a putto--Prospero Fontana (意大利, 1512-1597)
图片文件尺寸 : 3174 x 3149px
拉维尼娅·丰塔纳（Lavinia Fontana）的《一位身穿粉色袖子绿色连衣裙的半身少女肖像》-Lavinia Fontana
Portrait of a young woman, bustlength, in a green dress with pink sleeves--Lavinia Fontana (意大利, 1552-1614)
图片文件尺寸 : 5479 x 6390px
拉维尼娅·丰塔纳的《一位女士的肖像，她穿着一条毯子，左手拿着一本书》-Lavinia Fontana
Portrait Of A Lady Wearing A Ruff, Holding A Book In Her Left Hand--Lavinia Fontana (意大利, 1552-1614)
图片文件尺寸 : 4780 x 4782px
维克托·让·尼科尔（Victor Jean Nicolle）从西方看到的《特雷维的丰塔纳》（Fontana di Trevi）-Victor-Jean Nicolle
Fontana di Trevi, gezien vanuit het Westen--Victor-Jean Nicolle (法国, 1754-1826)
图片文件尺寸 : 3237 x 4000px
拉维尼娅·丰塔纳（Lavinia Fontana）的《朱迪思与霍洛弗内斯之首》（Judith with the Head of Holofernes）-Lavinia Fontana
Judith with the Head of Holofernes--Lavinia Fontana (意大利, 1552-1614)
图片文件尺寸 : 4000 x 2920px
拉维尼娅·丰塔纳的《比安卡·德格利·尤蒂利·马塞利抱着一只狗被六个孩子围着的肖像》-Six Of Her Children by Lavinia Fontana
Portrait Of Bianca Degli Utili Maselli Holding A Dog And Surrounded--Lavinia Fontana (意大利, 1552-1614)
图片文件尺寸 : 4941 x 4572px
Circle of Lavinia Fontana:Portrait of a boy, half-length, in a black doublet with white sleeves
inscribed and indistinctly dated \'AETATIS 4 AO **6\' (on plinth, upper left)
oil on panel
63.2 x 52.5cm (24 7/8 x 20 11/16in).
unframed
拉维尼娅·丰塔纳圆环 一个男孩的肖像，半身，穿着黑色紧身上衣，白色袖子没有框
图片文件像素：5954 x 5753 px
卢西奥·丰塔纳，当代艺术I-
Lucio Fontana * - Zeitgenössische Kunst I-
(Rosario di Santa Fe, Argentina 1899–1968 Comabbio)
Concetto Spaziale, 1962, signed and dated, brown watercolor, holes and graffiti on green blotting paper, 70 x 50 cm, framed
This work is accompanied by a certificate of authenticity released by the Fontana Foundation, Milan
Provenance:
Studio Bellini, Milan
Cieffe, Milan-Rome
Galleria Vecchiato Arte, Padua
Galleria Contini, Venice
Acquired directly from the above by the present owner
Literature:
L. M. Barbero, Lucio Fontana. Catalogo ragionato delle opere su carta, Skira Milan, vol. III, no. 62–63 DSP 1, p. 857
图片文件像素：5704 x 5632 px
卢西奥·丰塔纳，当代艺术I-
Lucio Fontana * - Zeitgenössische Kunst I-
(Rosario di Santa Fe, Argentina 1899–1968 Comabbio)
Concetto Spaziale, 1965, signed; signed and titled on the reverse, oil, tearing and scratching on canvas, pink, 92 x 73 cm, framed
This work is registered in the Fondazione Lucio Fontana, Milan and is accompanied by a photo certificate of authenticity
Provenance:
Galleria Arte Borgogna, Milan
European Private Collection
Literature:
E. Crispolti, Lucio Fontana: Catalogue Raisonné des Peintures, Sculptures et Environnements Spatiaux, vol. II, Brussels 1974, pp. 142, 143 with ill.
E. Crispolti, Lucio Fontana: Catalogo Generale, vol. II, Milan 1986, p. 487 with full-page ill., p. 488 no. 65 O 2 with ill.
E. Crispolti, Catalogo ragionato di sculture, dipinti e ambientazioni, vol. II, Milan 2006, p. 680, no. 65 O 2 with ill.
Lucio Fontana\'s first perforated canvases were created in 1949, and a decade later the artist began to work on his famous cuts through the canvas. Holes and cuts, buchi and tagli, became variations on Fontana\'s fundamental concept. The \"Olii\", on which Fontana worked intensively from the early 1960s, are also dominated by deep punctures and scratches.
With the radical gesture of piercing, the flat surface of the image is broken. The light falls through the openings, creating a new spatiality and depth. In this way, Fontana crosses a boundary that opens a new dimension and thus a new freedom for art - a revolutionary path in art history.
Accordingly, Fontana names his works \"Concetti Spaziali\" - spatial concepts: \"A hole is the beginning of a sculpture in space. My works are not pictures, but art concepts.\" Fontana allows the art genres - architecture, painting, sculpture - to merge into one another. In his Concetti Spaziali, real and imagined space combine; the view into the hole challenges the viewer\'s imagination. At the same time, the material character of the canvas or object is made tangible by piercing and cutting through it.
Fontana\'s \"Olii\" of the 1960s, as well as his metal works which were created during the same period, bear witness to the artist\'s sensual relationship to the material. He was fascinated by the texture of the malleable, slightly plastic oil paint, which is particularly well-suited to making visible gestures of scoring, piercing, or cutting. Fontana plays with the possibilities of handling canvas, paint, metal, glass or even light: the artistic gesture develops on the material and brings its potential to life.
\"The hole is my invention, that is all there is to it.
After this invention, I can die.\"
Lucio Fontana
图片文件尺寸 : 4374 x 5948px
LUCIO FONTANA:Concetto spaziale, natura
1967
each incised with the artist\'s signature and numbered 65/500 on the underside
bronze
each 10 1/2 by 8 1/4 by 8 in.; 26.7 by 21 by 20.3 cm.
This work was executed in 1967 and is number 65 from an edition of 500.
卢西奥·丰塔纳 空间概念，自然1967
图片文件尺寸 : 2064 x 3016px
“对一个裸体男性青年的研究，以及普罗斯佩罗·丰塔纳对推杆的小型研究-Prospero Fontana
Study of a nude male youth, and a small study of a putto--Prospero Fontana (意大利, 1512-1597)
图片文件尺寸 : 3174 x 3149px
拉维尼娅·丰塔纳（Lavinia Fontana）的《一位身穿粉色袖子绿色连衣裙的半身少女肖像》-Lavinia Fontana
Portrait of a young woman, bustlength, in a green dress with pink sleeves--Lavinia Fontana (意大利, 1552-1614)
图片文件尺寸 : 5479 x 6390px
拉维尼娅·丰塔纳的《一位女士的肖像，她穿着一条毯子，左手拿着一本书》-Lavinia Fontana
Portrait Of A Lady Wearing A Ruff, Holding A Book In Her Left Hand--Lavinia Fontana (意大利, 1552-1614)
图片文件尺寸 : 4780 x 4782px
维克托·让·尼科尔（Victor Jean Nicolle）从西方看到的《特雷维的丰塔纳》（Fontana di Trevi）-Victor-Jean Nicolle
Fontana di Trevi, gezien vanuit het Westen--Victor-Jean Nicolle (法国, 1754-1826)
图片文件尺寸 : 3237 x 4000px
拉维尼娅·丰塔纳（Lavinia Fontana）的《朱迪思与霍洛弗内斯之首》（Judith with the Head of Holofernes）-Lavinia Fontana
Judith with the Head of Holofernes--Lavinia Fontana (意大利, 1552-1614)
图片文件尺寸 : 4000 x 2920px
拉维尼娅·丰塔纳的《比安卡·德格利·尤蒂利·马塞利抱着一只狗被六个孩子围着的肖像》-Six Of Her Children by Lavinia Fontana
Portrait Of Bianca Degli Utili Maselli Holding A Dog And Surrounded--Lavinia Fontana (意大利, 1552-1614)
图片文件尺寸 : 4941 x 4572px
Circle of Lavinia Fontana:Portrait of a boy, half-length, in a black doublet with white sleeves
inscribed and indistinctly dated \'AETATIS 4 AO **6\' (on plinth, upper left)
oil on panel
63.2 x 52.5cm (24 7/8 x 20 11/16in).
unframed
拉维尼娅·丰塔纳圆环 一个男孩的肖像，半身，穿着黑色紧身上衣，白色袖子没有框
图片文件像素：5954 x 5753 px
卢西奥·丰塔纳，当代艺术I-
Lucio Fontana * - Zeitgenössische Kunst I-
(Rosario di Santa Fe, Argentina 1899–1968 Comabbio)
Concetto Spaziale, 1962, signed and dated, brown watercolor, holes and graffiti on green blotting paper, 70 x 50 cm, framed
This work is accompanied by a certificate of authenticity released by the Fontana Foundation, Milan
Provenance:
Studio Bellini, Milan
Cieffe, Milan-Rome
Galleria Vecchiato Arte, Padua
Galleria Contini, Venice
Acquired directly from the above by the present owner
Literature:
L. M. Barbero, Lucio Fontana. Catalogo ragionato delle opere su carta, Skira Milan, vol. III, no. 62–63 DSP 1, p. 857
图片文件像素：5704 x 5632 px
卢西奥·丰塔纳，当代艺术I-
Lucio Fontana * - Zeitgenössische Kunst I-
(Rosario di Santa Fe, Argentina 1899–1968 Comabbio)
Concetto Spaziale, 1965, signed; signed and titled on the reverse, oil, tearing and scratching on canvas, pink, 92 x 73 cm, framed
This work is registered in the Fondazione Lucio Fontana, Milan and is accompanied by a photo certificate of authenticity
Provenance:
Galleria Arte Borgogna, Milan
European Private Collection
Literature:
E. Crispolti, Lucio Fontana: Catalogue Raisonné des Peintures, Sculptures et Environnements Spatiaux, vol. II, Brussels 1974, pp. 142, 143 with ill.
E. Crispolti, Lucio Fontana: Catalogo Generale, vol. II, Milan 1986, p. 487 with full-page ill., p. 488 no. 65 O 2 with ill.
E. Crispolti, Catalogo ragionato di sculture, dipinti e ambientazioni, vol. II, Milan 2006, p. 680, no. 65 O 2 with ill.
Lucio Fontana\'s first perforated canvases were created in 1949, and a decade later the artist began to work on his famous cuts through the canvas. Holes and cuts, buchi and tagli, became variations on Fontana\'s fundamental concept. The \"Olii\", on which Fontana worked intensively from the early 1960s, are also dominated by deep punctures and scratches.
With the radical gesture of piercing, the flat surface of the image is broken. The light falls through the openings, creating a new spatiality and depth. In this way, Fontana crosses a boundary that opens a new dimension and thus a new freedom for art - a revolutionary path in art history.
Accordingly, Fontana names his works \"Concetti Spaziali\" - spatial concepts: \"A hole is the beginning of a sculpture in space. My works are not pictures, but art concepts.\" Fontana allows the art genres - architecture, painting, sculpture - to merge into one another. In his Concetti Spaziali, real and imagined space combine; the view into the hole challenges the viewer\'s imagination. At the same time, the material character of the canvas or object is made tangible by piercing and cutting through it.
Fontana\'s \"Olii\" of the 1960s, as well as his metal works which were created during the same period, bear witness to the artist\'s sensual relationship to the material. He was fascinated by the texture of the malleable, slightly plastic oil paint, which is particularly well-suited to making visible gestures of scoring, piercing, or cutting. Fontana plays with the possibilities of handling canvas, paint, metal, glass or even light: the artistic gesture develops on the material and brings its potential to life.
\"The hole is my invention, that is all there is to it.
After this invention, I can die.\"
Lucio Fontana