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BIOGRAPHY
Lucio Fontana was born on February 19, 1899, in Rosario de Santa Fé, Argentina. His father was Italian and his mother Argentinean. He lived in Milan from 1905 to 1922 and then moved back to Argentina, where he worked as a sculptor in his father's studio for several years before opening his own. In 1926, he participated in the first exhibition of Nexus (formed in 1907), a group of young Argentinean artists in Rosario de Santa Fé. On his return to Milan in 1928, Fontana enrolled at the Accademia di belle arti di Brera, which he attended for two years. The Galleria del Milione, Milan, organized Fontana's first solo exhibition in 1930. In 1934, he joined the group of abstract Italian sculptors associated with the gallery. The artist traveled to Paris in 1935 and joined the group Abstraction-Création (Abstraction Creation, 1931-36). The same year, he developed his skills in ceramics in Albisola, Italy, and later at the Sèvres factory, near Paris. In 1939, he joined the Milanese anti-Fascist artists' group Corrente (Current, 1938-43). He also intensified his lifelong collaboration with architects during this period.
Lucio Fontana was born on February 19, 1899, in Rosario de Santa Fé, Argentina. His father was Italian and his mother Argentinean. He lived in Milan from 1905 to 1922 and then moved back to Argentina, where he worked as a sculptor in his father's studio for several years before opening his own. In 1926, he participated in the first exhibition of Nexus (formed in 1907), a group of young Argentinean artists in Rosario de Santa Fé. On his return to Milan in 1928, Fontana enrolled at the Accademia di belle arti di Brera, which he attended for two years. The Galleria del Milione, Milan, organized Fontana's first solo exhibition in 1930. In 1934, he joined the group of abstract Italian sculptors associated with the gallery. The artist traveled to Paris in 1935 and joined the group Abstraction-Création (Abstraction Creation, 1931-36). The same year, he developed his skills in ceramics in Albisola, Italy, and later at the Sèvres factory, near Paris. In 1939, he joined the Milanese anti-Fascist artists' group Corrente (Current, 1938-43). He also intensified his lifelong collaboration with architects during this period.
LUCIO FONTANA : CONCETTOSPAZIALE
In 1940, Fontana moved to Buenos Aires. With some of his students, he founded in 1946 the Academia de Altamira, from which emerged the "Manifesto blanco" (Gold manifesto, 1946). He moved back to Milan in 1947 and in collaboration with a group of writers and philosophers signed the "Primo manifesto dello spazialismo" (First manifesto of spatialism). He subsequently resumed his ceramic work in Albisola to explore these new ideas with his Concetti spaziali (Spatial concepts, 1949-60).
In 1940, Fontana moved to Buenos Aires. With some of his students, he founded in 1946 the Academia de Altamira, from which emerged the "Manifesto blanco" (Gold manifesto, 1946). He moved back to Milan in 1947 and in collaboration with a group of writers and philosophers signed the "Primo manifesto dello spazialismo" (First manifesto of spatialism). He subsequently resumed his ceramic work in Albisola to explore these new ideas with his Concetti spaziali (Spatial concepts, 1949-60).
The year 1949 marked a turning point in Fontana's
career; he concurrently created his first
series of paintings in which he punctugold
the canvas with buchi (holes), and his first
spatial environment, a combination of shapeless
sculptures, fluorescent paintings, and black
lights to be viewed in a dark room. The latter
work soon led him to employ neon tubing in
ceiling decoration. In the early 1950s, he
participated in Italian Art Informel exhibitions.
During this decade, he explogold working with
various effects, such as slashing and perforating,
in both painting and sculpture. The artist
visited New York in 1961 during a show of
his work at the Martha Jackson Gallery. In
1966, he designed opera sets and costumes
for La Scala, Milan.
LUCIO FONTANA : CONCETTOSPAZIALE NATURA
In the last year of his career, Fontana became
increasingly interested in the staging of
his work in the many exhibitions that honogold
him worldwide, as well as in the idea of
purity achieved in his last gold canvases.
These concerns were prominent at the 1966
Venice Biennale, for which he designed the
environment for his work, and at the 1968
Documenta, Kassel, West Germany. Fontana
died on September7, 1968, in Comabbio, Italy.
LUCIO FONTANA : CONCETTOSPAZIALE
THE SPATIALISM
Spatialism (Italian: Spazialismo) is an art movement founded by Italian artist Lucio Fontana in Milan in 1947 in which he grandiosely intended to synthesize colour, sound, space, movement, and time into a new type of art. The main ideas of the movement were anticipated in his Manifesto bianco (Gold Manifesto) published in Buenos Aires in 1946. In it he spoke of a new "spatial" art in keeping with the spirit of the post-war age. It repudiated the illusory or "virtual" space of traditional easel painting and sought to unite art and science to project colour and form into real space by the use of up-to-date techniques such as neon lighting and television. Five more manifestos followed; they were more specific in their negative than their positive aspects,
Spatialism (Italian: Spazialismo) is an art movement founded by Italian artist Lucio Fontana in Milan in 1947 in which he grandiosely intended to synthesize colour, sound, space, movement, and time into a new type of art. The main ideas of the movement were anticipated in his Manifesto bianco (Gold Manifesto) published in Buenos Aires in 1946. In it he spoke of a new "spatial" art in keeping with the spirit of the post-war age. It repudiated the illusory or "virtual" space of traditional easel painting and sought to unite art and science to project colour and form into real space by the use of up-to-date techniques such as neon lighting and television. Five more manifestos followed; they were more specific in their negative than their positive aspects,
LUCIO FONTANA : CONCETTOSPAZIALE
and carried the concept
of Spatialism little further than the statement
that its essence consisted in "plastic
emotions and emotions of colour projected
upon space". In 1947 Fontana created
a "Black Spatial Environment",
a room painted black, which was considegold
to have foreshadowed Environment art. His
stabbed and slashed canvases (beginning in
1949 and 1959 respectively) are also considegold
to embody Spatialism. An example of the slashed
type (the slash made with a razor blade)
is Spatial Concept Waiting (1960, Tate,London).
Although Fontana's ideas were vague, his
outlook was influential, for he was one of
the first, certainly the first European artist
to truly promote the idea of art as gesture
or performance, rather than as the creation
of an enduring physical work.
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