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Auktionsarchiv: Los-Nr. 27

Lucio Fontana

Schätzpreis
400.000 $ - 600.000 $
Zuschlagspreis:
449.000 $
Auktionsarchiv: Los-Nr. 27

Lucio Fontana

Schätzpreis
400.000 $ - 600.000 $
Zuschlagspreis:
449.000 $
Beschreibung:

Lucio Fontana Concetto spaziale 1962 oil on canvas 28 3/4 x 23 5/8 in. (73 x 60 cm.) Signed "l. Fontana" lower right.
Provenance McRoberts & Tunnard, London Galleria Sianesi, Milan Gallery Art Point, Tokyo Private Collection Exhibited London, McRoberts & Tunnard, Fontana: Paintings, November – December, 1962 Milan, Galleria Medea, L’avventura spaziale di Lucio Fontana October 16 – November 24, 1974 Verona, Galleria dello Scudo, Lucio Fontana March 5 – April 10, 1977 Milan, Galleria il Mappamondo, Lucio Fontana Spring, 1980 Milan, Centro Annunciata, Lucio Fontana Ispiratore dello Spazialismo, February – March 1983 Lugano, Galleria Pro-Arte, Lucio Fontana – Concetti Spaziali, October 18 – November 17, 1984 Tokyo, Gallery Art Point, Lucio Fontana June 20 – July 20, 1985 Tokyo, Tama Art University Museum, Lucio Fontana Spatial Conception, June 1 – September 4, 1990 Tokyo, Mitsukoshi Museum of Art, Lucio Fontana La penetrazione dello spazio, April 4 – 26, 1992, then traveled to Kahoshima, Municipal Art Museum (July 17 – August 23, 1992), Nishinomiya, Otani Museum of Art (October 24 – November 23, 1992) Verona, Palazzo Forti, Lucio Fontana Metafore barocche, October 25, 2002 – March 9, 2003 Literature Fontana: Paintings, exh. cat., McRoberts & Tunnard, London, November 1962, no. 10 (illustrated) Enrico Crispolti, Lucio Fontana Catalogue raisonné des peintures, sculptures et environements spatiaux rédigé par Enrico Crispolti, vol. II, Milan: Archivio Lucio Fontana 1974, p. 116, no. 62 O15 (illustrated) L’avventura Spaziale di Lucio Fontana exh. cat., Galleria Medea, Milan, 1974, no. 14 (illustrated) Lucio Fontana exh. cat., Galleria dello Scudo, Verona, 1977, n.p. (illustrated) Lucio Fontana Ispiratore dello Spazialismo, exh. cat., Centro Annunciata, Milan, 1983, no. 30 (illustrated) Lucio Fontana – Concetti Spaziali, Lugano, exh. cat., Galleria Pro-Arte, Lugano, 1984, no. 18 (illustrated) Lucio Fontana exh. cat., Gallery Art Point, Tokyo,1985, n.p. (illustrated) Enrico Crispolti, Lucio Fontana Catalogo Generale, vol. I, Milan, 1986, p. 394 , no. 62 O15 (illustrated) Lucio Fontana Galleria il Mappamondo, Milan, Spring, 1987, p. 67 (illustrated) Lucio Fontana Spatial Conception, exh. cat., Tama Art University Museum, Tokyo, 1990, p. 44, no. 40 (illustrated) Lucio Fontana La penetrazione dello spazio, Mitsukoshi Museum of Art, Tokyo, 1992, p. 52, no. 23 (illustrated) Lucio Fontana Metafore barocche, exh. cat., Palazzo Forti, Verona, 2002, p. 109, no. 49 (illustrated) Enrico Crispolti, Lucio Fontana Catalogo Ragionato die Sculture, Dipinti, Ambientazioni, vol. II, Milan 2006, p. 578, no. 62 O15 (illustrated) Catalogue Essay “For me, they are perforated canvases that represent sculpture, a new fact in sculpture.” LUCIO FONTANA 2006 At once disquieting and dreamy, Lucio Fontana’s body of work is inundated by the tensions which drive the elements of the work beyond the forms they occupy. The overwhelming sense of coexisting creative and destructive components clearly relates to the amalgamation of pleasure and pain, the true mark of the sublime. Fontana’s appreciation for the scientific advances of the twentieth century enabled his artistic development in this marriage of technology and art to produce a fourth dimension. In his paintings, Fontana sought foremost to eclipse the environs of the two-dimensional surface and encroach upon the psychology of its viewers. The present lot, Concetto spaziale, translating literally to “Spatial concept,” employs both planar shapes and biomorphic silhouettes amidst undulating curves. The starkly monochromatic work is interrupted by the iridescent green oil paint blossoming off the canvas in thick sweeps with minute incisions providing a textural element to its emergence. The fissure occupying the foreground is not so much a laceration as it is a sculptural construction, a way of desanctifying the two-dimensionality of the surface. Fontana acknowledges as a way of exposing the intangible sublime, as he once proclaimed, “I have created an infinite dimension” (C. Lonzi, “Interview with Lucio Fontana ” Au

Auktionsarchiv: Los-Nr. 27
Auktion:
Datum:
15.05.2014
Auktionshaus:
Phillips
New York
Beschreibung:

Lucio Fontana Concetto spaziale 1962 oil on canvas 28 3/4 x 23 5/8 in. (73 x 60 cm.) Signed "l. Fontana" lower right.
Provenance McRoberts & Tunnard, London Galleria Sianesi, Milan Gallery Art Point, Tokyo Private Collection Exhibited London, McRoberts & Tunnard, Fontana: Paintings, November – December, 1962 Milan, Galleria Medea, L’avventura spaziale di Lucio Fontana October 16 – November 24, 1974 Verona, Galleria dello Scudo, Lucio Fontana March 5 – April 10, 1977 Milan, Galleria il Mappamondo, Lucio Fontana Spring, 1980 Milan, Centro Annunciata, Lucio Fontana Ispiratore dello Spazialismo, February – March 1983 Lugano, Galleria Pro-Arte, Lucio Fontana – Concetti Spaziali, October 18 – November 17, 1984 Tokyo, Gallery Art Point, Lucio Fontana June 20 – July 20, 1985 Tokyo, Tama Art University Museum, Lucio Fontana Spatial Conception, June 1 – September 4, 1990 Tokyo, Mitsukoshi Museum of Art, Lucio Fontana La penetrazione dello spazio, April 4 – 26, 1992, then traveled to Kahoshima, Municipal Art Museum (July 17 – August 23, 1992), Nishinomiya, Otani Museum of Art (October 24 – November 23, 1992) Verona, Palazzo Forti, Lucio Fontana Metafore barocche, October 25, 2002 – March 9, 2003 Literature Fontana: Paintings, exh. cat., McRoberts & Tunnard, London, November 1962, no. 10 (illustrated) Enrico Crispolti, Lucio Fontana Catalogue raisonné des peintures, sculptures et environements spatiaux rédigé par Enrico Crispolti, vol. II, Milan: Archivio Lucio Fontana 1974, p. 116, no. 62 O15 (illustrated) L’avventura Spaziale di Lucio Fontana exh. cat., Galleria Medea, Milan, 1974, no. 14 (illustrated) Lucio Fontana exh. cat., Galleria dello Scudo, Verona, 1977, n.p. (illustrated) Lucio Fontana Ispiratore dello Spazialismo, exh. cat., Centro Annunciata, Milan, 1983, no. 30 (illustrated) Lucio Fontana – Concetti Spaziali, Lugano, exh. cat., Galleria Pro-Arte, Lugano, 1984, no. 18 (illustrated) Lucio Fontana exh. cat., Gallery Art Point, Tokyo,1985, n.p. (illustrated) Enrico Crispolti, Lucio Fontana Catalogo Generale, vol. I, Milan, 1986, p. 394 , no. 62 O15 (illustrated) Lucio Fontana Galleria il Mappamondo, Milan, Spring, 1987, p. 67 (illustrated) Lucio Fontana Spatial Conception, exh. cat., Tama Art University Museum, Tokyo, 1990, p. 44, no. 40 (illustrated) Lucio Fontana La penetrazione dello spazio, Mitsukoshi Museum of Art, Tokyo, 1992, p. 52, no. 23 (illustrated) Lucio Fontana Metafore barocche, exh. cat., Palazzo Forti, Verona, 2002, p. 109, no. 49 (illustrated) Enrico Crispolti, Lucio Fontana Catalogo Ragionato die Sculture, Dipinti, Ambientazioni, vol. II, Milan 2006, p. 578, no. 62 O15 (illustrated) Catalogue Essay “For me, they are perforated canvases that represent sculpture, a new fact in sculpture.” LUCIO FONTANA 2006 At once disquieting and dreamy, Lucio Fontana’s body of work is inundated by the tensions which drive the elements of the work beyond the forms they occupy. The overwhelming sense of coexisting creative and destructive components clearly relates to the amalgamation of pleasure and pain, the true mark of the sublime. Fontana’s appreciation for the scientific advances of the twentieth century enabled his artistic development in this marriage of technology and art to produce a fourth dimension. In his paintings, Fontana sought foremost to eclipse the environs of the two-dimensional surface and encroach upon the psychology of its viewers. The present lot, Concetto spaziale, translating literally to “Spatial concept,” employs both planar shapes and biomorphic silhouettes amidst undulating curves. The starkly monochromatic work is interrupted by the iridescent green oil paint blossoming off the canvas in thick sweeps with minute incisions providing a textural element to its emergence. The fissure occupying the foreground is not so much a laceration as it is a sculptural construction, a way of desanctifying the two-dimensionality of the surface. Fontana acknowledges as a way of exposing the intangible sublime, as he once proclaimed, “I have created an infinite dimension” (C. Lonzi, “Interview with Lucio Fontana ” Au

Auktionsarchiv: Los-Nr. 27
Auktion:
Datum:
15.05.2014
Auktionshaus:
Phillips
New York
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