图片文件像素：4600 x 3500 px
卢西奥·丰塔纳-摩登-
-
(Rosario di Santa Fe, Argentinien 1899–1968 Comabbio)
Nudo femminile, 1960-61, signiert, farbige Tusche auf Papier, 100 x 70 cm, gerahmt
Zu diesem Werk liegt ein 1973 vom Archivio fotografico Lucio Fontana ausgestelltes Fotozertifikat vor
图片文件尺寸 : 5465 x 4021px
Lucio FONTANA:VERS LE POINT OMEGA, 1963
(Ruhé Rigo, p.16)
Ouvrage présentant une concetto spaziale sur la couverture composé de trois feuilles de papier blanc, rouge et blanc perçée de quatre trous sur la couverture du livre
Pièce unique (chaque exemplaire étant différent)
Grassin editeur
19 x 14 cm
Lucio FONTANA先生 欧米茄角，1963年
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
39 3/8 × 31 1/2 (100 × 80 cm)
Lucio Fontana. Spatial Concept. 1960
卢西奥·丰塔纳。空间概念。1960-
39 3/8 x 32 (100 x 81.5 cm)
Lucio Fontana. Spatial Concept: Expectations. 1959
卢西奥·丰塔纳。空间概念：期望。1959-
39 1/2 x 31 5/8 (100.3 x 80.3 cm)
Lucio Fontana. Spatial Concept: Expectation. 1960
卢西奥·丰塔纳。空间概念：期望。1960-
材质 :
图片文件尺寸 : 5860 x 5012 px
Sergio Tosi-Lucio Fontana, 1966.
塞尔吉奥·托西-卢西奥·丰塔纳，1966年。
图片文件像素：5321 x 4199 px
卢西奥·丰塔纳，当代艺术II-
Lucio Fontana * - Zeitgenössische Kunst II-
(Rosario di Santa Fe, Argentina 1899–1968 Comabbio)
Concetto Spaziale, 1965, signed, pencil and tears of Fontana on white paper (fabriano), one unique piece of 150 relegated to the book, “Apocalissi e sedici traduzioni” by Giuseppe Ungaretti (Bucciarelli ed., Ancora 1965), 35.5 x 25.5 cm, framed
图片文件尺寸 : 3959 x 5878px
Lucio Fontana:Concetto Spaziale
3D vacuum-formed plastic multiple, 1968, from the edition of an unknown size, with the accompanying book \'Lucio Fontana\', published by Achille Mauri, Milan, with the original cardboard packaging, 295 x 295mm (11 5/8 x 11 5/8in)(Multiple)(2)
卢齐欧·封塔纳 空间概念
图片文件像素：4600 x 3500 px
卢西奥·丰塔纳-摩登-
-
(Rosario di Santa Fe, Argentinien 1899–1968 Comabbio)
Nudo femminile, 1960-61, signiert, farbige Tusche auf Papier, 100 x 70 cm, gerahmt
Zu diesem Werk liegt ein 1973 vom Archivio fotografico Lucio Fontana ausgestelltes Fotozertifikat vor
图片文件尺寸 : 5465 x 4021px
Lucio FONTANA:VERS LE POINT OMEGA, 1963
(Ruhé Rigo, p.16)
Ouvrage présentant une concetto spaziale sur la couverture composé de trois feuilles de papier blanc, rouge et blanc perçée de quatre trous sur la couverture du livre
Pièce unique (chaque exemplaire étant différent)
Grassin editeur
19 x 14 cm
Lucio FONTANA先生 欧米茄角，1963年
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
39 3/8 × 31 1/2 (100 × 80 cm)
Lucio Fontana. Spatial Concept. 1960
卢西奥·丰塔纳。空间概念。1960-
39 3/8 x 32 (100 x 81.5 cm)
Lucio Fontana. Spatial Concept: Expectations. 1959
卢西奥·丰塔纳。空间概念：期望。1959-
39 1/2 x 31 5/8 (100.3 x 80.3 cm)
Lucio Fontana. Spatial Concept: Expectation. 1960
卢西奥·丰塔纳。空间概念：期望。1960-
材质 :
图片文件尺寸 : 5860 x 5012 px
Sergio Tosi-Lucio Fontana, 1966.
塞尔吉奥·托西-卢西奥·丰塔纳，1966年。
图片文件像素：5321 x 4199 px
卢西奥·丰塔纳，当代艺术II-
Lucio Fontana * - Zeitgenössische Kunst II-
(Rosario di Santa Fe, Argentina 1899–1968 Comabbio)
Concetto Spaziale, 1965, signed, pencil and tears of Fontana on white paper (fabriano), one unique piece of 150 relegated to the book, “Apocalissi e sedici traduzioni” by Giuseppe Ungaretti (Bucciarelli ed., Ancora 1965), 35.5 x 25.5 cm, framed
图片文件尺寸 : 3959 x 5878px
Lucio Fontana:Concetto Spaziale
3D vacuum-formed plastic multiple, 1968, from the edition of an unknown size, with the accompanying book \'Lucio Fontana\', published by Achille Mauri, Milan, with the original cardboard packaging, 295 x 295mm (11 5/8 x 11 5/8in)(Multiple)(2)
卢齐欧·封塔纳 空间概念