(Prints executed 1965-1966). *Paint nights are $7 per participant, materials provided. These swirls of paint drag the viewer's gaze back and forth and up and down across the canvas, inviting the viewer to participate in the energetic journey into the space of the artwork. A beautifully elegant piece which was selected by the Museum of Modern Art for their permanent collection. The Fontana Modern Masters were great if you loved deep thinking and even better if you loved great art, with the first ten covers forming a cut-up of Oliver Bevan's Cascade. Instead, these phenomena are properties and forces that man constantly interacts with. See more ideas about lucio fontana, fontana, contemporary art. Art that’s movement. In Duchamp's presentation, the urinal's … Fontana’s rupture of the surface of painting has had a widespread impact on generations of artists in exploring the dynamics of how painting can incorporate space and the real, physical elements of life. Each table is carefully constructed of curved and ground 0.6" thick float-glass. The 'set of ten' books appeared in 1970-71 but overran when Joyce was published with the same cover as Guevara: A second 'set of ten' featuring a new Bevan cut-up was published in 1971-73 but the inclusion of Joyce in the first 'set of ten' left this second set one book short: A third 'set of ten' featuring Bevan's kinetic Pyramid painting began to appear in 1973-74 but Constable left before the set was complete and his replacement, Mike Dempsey, scrapped the set-of-ten incentive after eight books: Dempsey switched the covers to a white background and commissioned a new artist James Lowe, whose cover art for the next eight books in 1975-76 was based on triangles: Nine more books appeared in 1977-79 with cover art by James Lowe based on squares: Dempsey left Fontana Books in 1979 but continued to oversee the Modern Masters series until a new art director, Patrick Mortimer, was appointed in 1980. James Pardey. “We need a new form. An Italian sculptor, painter, and theorist who was born in Argentina is best known as the founder of Spatialism and his ties to Arte Povera, a modern art movement introduced in Italy in 1967. In April 1917, an ordinary piece of plumbing chosen by Duchamp was submitted for an exhibition of the Society of Independent Artists, the inaugural exhibition by the Society to be staged at The Grand Central Palace in New York. Dr. Jeffrey Fontana, Austin College associate professor of art history, will present “Up Close and Personal: Getting to Know Some Famous Ancients and Not-So-Famous Moderns” on Wednesday, October 25, at 5 p.m. in Mabee Hall of Wright Campus Center. One of his most celebrated works Spatial Concept: Waiting consists of a single cut on a warm, brown-hued canvas. https://en.wikipedia.org/w/index.php?title=Fontana_Modern_Masters&oldid=998053345, Book publishing companies of the United Kingdom, Creative Commons Attribution-ShareAlike License, This page was last edited on 3 January 2021, at 16:02. The bold monochrome colors of the tagli works resemble the abstract monochrome canvases of Fontana's contemporaries, such as Yves Klein and his signature blue monochrome paintings. Fountain is a readymade sculpture by Marcel Duchamp in 1917, consisting of a porcelain urinal signed "R. Mutt". No longer confined to physical materials, Fontana's art can exist in the infinite realm of space. These ambienti spaziali immediately followed the First and Second Spatialist manifestos of the late 1940s, in which Fontana and other artists called for the integration of science and art through the embrace of modern technology in artwork and the recognition of the creative possibilities within scientific discovery. The Musée d’Art moderne de la Ville de Paris presents a major Lucio Fontana (1899-1968) retrospective. The first five titles were published on 12 January 1970 by Fontana Books, the paperback imprint of William Collins & Co, and the series editor was Frank Kermode who was Professor of Modern English Literature at University College London. One of those artists is the legendary Lucio Fontana. By 1960, Fontana restricted the number of tagli to between one and five after initial experimentations with several cuts running across the material's surface. Just as human kind continued to push beyond the familiar boundaries of time and space in scientific and mathematical realms, so too did Fontana ask artists and viewers alike to reimagine the established norms. In advance of the auction, browse lots and place max bids before live bidding begins in Milan, Italy on Thursday, October 22nd at 4:00pm CEST (10:00am EDT). your own Pins on Pinterest [Internet]. Here, much like the simple yet impactful shapes produced by the cuts in his painted canvases, Natura has an elemental, raw appearance. While the viewer's mind may fill in the spaces between the punctures, creating whirling lines across the canvas, the composition is not intended to be strictly representational. His new gesture of slicing through the canvas material gave a new series of works begun in 1958 the name tagli (cuts). The Fontana series consists of four tables in various sizes. 'Oliver Bevan: In Search of Utopia'. Fontana Arte offers products with a contemporary look with clean lines and a minimalistic style As with his holes and cuts, the horizontal gash in the Natura sculptures are the physical traces of a decisive artistic movement, implying the motion and energy of the art making process while also suggesting the opening up of new areas where art can exist. In these later olii works, Fontana made aesthetic choices that implied emotions, such as anxiety and restlessness, offering a raw, almost primitive, glance at the creative impulse. Moreover, by inhabiting a transitional space of the stairwell, and hanging from the ceiling above viewers' heads, the work forces the viewers to alter their traditional positioning in relation to a piece of art, with their heads raised and eyes focused above the usual line of vision. The events, part of… [Read More] The title for this series of sculptures, Natura, recalls objects and experiences that are present if not strictly visible in the artwork, such as the elements of the natural environment on Earth as well as the natural elements orbiting around us in space. Even though his early works like Figure Nere are meant to be seen from one, frontal angle, Fontana was already exploring the idea of manipulating the materials to evoke a sensation of physical space in the image. However, Shovlin also noticed ten forthcoming titles listed on the books' front endpapers which, for reasons unknown, had not been published: Shovlin then set out to paint these 'lost' titles and thus 'complete' the series. Not only was he extending the space of the artwork behind the canvas by exposing this area through punctures, he was also extending the space forward, as the colored glass pieces projected toward the viewer. Mocking the seriousness that accompanied expressive, colorful abstract painting in the post-war years, Klein ironically challenged viewers to find deeper meanings and nuanced differences in canvases that were complete monochromes in identical shades of Klein's own individual color: International Klein Blue. Considered one of the greatest visionaries of the 20th century, his work deeply influenced several generations of artists, from Yves Klein to the present. Fontana didn’t begin creating canvas-based art until he was in his 50s. Fontana formulated the theory of Spatialism in a series of manifestos dating from the late 1940s to early 1950s, proposing that matter should be infiltrated by energy in order to generate dimensional, dynamic artistic forms. With this series of works, Fontana returns to constructing layers of paint upon the surface of the canvas while also rendering gaps in the physical support, forcing the artwork to spread out in different directions that project towards viewers and recede from them at the same time. Despite Fontana's earlier interest in removing the physical trace of the artist's hand in his paintings, Fontana created this series of sculptures that could only have been shaped by the artist himself. Fontana's rough-edged bronze sphere is interrupted by a horizontal slit across the center, lending a surprisingly energetic quality to this fixed object, which sits directly on the gallery floor. Jahrhunderts. Fontana's early training in sculpture and carving is evident in a series of sculptural concetti spaziale works: terra cotta shapes subsequently cast in bronze, each work subtitled Natura (Nature). Figure Nere is an example of Fontana's early ceramic sculpture, featuring a rough-hewn, rectangular terra-cotta slab with two black silhouetted figures, a taller one behind a shorter figure in the front. Lucio Fontana’s minimalist modern art has delighted and confused critics since he started producing his infamous slashed canvases in the 1940s. The books were very popular with students, who 'bought them by the handful' according to Kermode,[1] and they were instantly recognisable by their eye-catching covers, which featured brightly coloured abstract art and sans-serif typography. (firmatoterracotta ingobbiata, buchi, incisioni e graffiti, … “Sculpture and painting are both things of the past,” argued Fontana. By assembling these environments, Fontana challenged viewers to understand the artwork as a spatial experience rather than a fixed object. 15 Ridiculous Pieces Of Art That Sold For Millions Of Dollars Uploaded 08/03/2015 Meanwhile in the countries with first world problems. However, a visit to the Grabowski Gallery in London introduced Constable to the work of Oliver Bevan, a graduate of the Royal College of Art in 1964, whose optical and geometric paintings were influenced by Vasarely's Op Art. Even as Fontana encouraged active conversation between technological mechanisms and sophisticated scientific principles with the process of art making, he was able to maintain the central role of the artist, the human presence. As a close friend of Klein, Fontana shared this rejection of the dominant tendencies, although Fontana is not considered to be the unorthodox, satirical imp of abstraction as Klein was. MORE STYLES - Fontana - maps on the link below https://www.etsy.com/shop/M3maps?search_query=Fontana SHIPPING - We ship from USA! Not long after Fontana experimented with punching holes in his canvases, he also experimented with adding objects on top of his canvases. Like the holes in some of his other canvases, they have the effect of drawing the viewer into space. These cuts (or tagli) were carefully pre-meditated but executed in an instant. The surface of the sculpture reveals the artist's hand, with visible marks indicating the development of the form. To further encourage the energetic quality of these works, Fontana added impasto (large clumps of paint) in swirling patterns around the holes and glass pieces. The elegant bends of this neon sculpture appear as random meandering, the quintessential doodle on paper, yet the expansive scale and modern medium elevates the object to a sensational and environmental status. International Art Modern Art Art Design Lucio Fontana Art And Architecture Art Monochrome Painting Interior Art White Art Lucio Fontana - Concetto Spaziale [1964-65] Lucio Fontana (Santa Fe, Argentina, February 19, 1899 - Varese, Italy, September 7, 1968) was an Italian painter, sculptor and theorist of Argentine birth. The holes suggest the realms of stars in outer space that were becoming more accessible and understood than ever before, and Fontana's embrace of the unknown voids of space reveal his fascination with the laws of physics, his excitement about man's journey into new physical and intellectual realms, and his genuine belief in the productive partnership of science and art during a time of post-war optimism and innovation. Acrylic on canvas - Museo Reina Sofía, Madrid, Spain. Given these flaws, and those in Fontana's original series, the absence of any modern masters from the visual arts is notable,[4] since Matisse was one of four 'forthcoming titles' which Shovlin had apparently overlooked: Benjamin and Matisse have since been included in a new series of seventeen large Fontana Modern Masters that Shovlin painted in 2011-12. Sep 25, 2013 - This Pin was discovered by Stephanie Tamez. Amazon.com: Orazio Fontana - 20x20 Modern Black Framed and Double Matted Art by Museum Prints Titled: Dish with Jacob's Dream: Posters & Prints In his series known as the pietre (stones) Fontana added small pieces of colored glass to his paintings that contained his signature holes. [5] The paintings are acrylic on canvas and each measures 210 x 130 cm: James Pardey. U pcoming Interactive Art Events. Synthetic paint and glass fragments on canvas - Collection La Gaia, Busca. The tension between presence and absence in the tagli canvases forces the artist and viewers alike to rethink common assumptions about the creative process, allowing a seemingly destructive gesture to be a constructive moment, as it creates a new region for art to exist by breaking apart another. Fontana was aware of the potential tension between objects and space, noting in his writings that art forms, such as paintings and sculptures, can occupy space by adding to the existing environment through tangible materials and through intangible effects (such as shadows). Dec 8, 2014 - Explore Ian Andrés Barragán's board "Lucio Fontana" on Pinterest. Rather than creating an image by layering colors and lines on top of the canvas, Fontana's work creates an image through the direct engagement of both the canvas's physical properties and the space that exists around it. Oil on canvas - Walker Art Center, Minneapolis, Content compiled and written by The Art Story Contributors, Edited and revised, with Summary and Accomplishments added by Meggie Morris. The covers were pocket-sized works of art, and it is as art that the story of the Fontana Modern Masters is presented here, for they did not just catch the eye, they Lucio Fontana (Italian: [ˈluːtʃo fonˈtaːna]; 19 February 1899 – 7 September 1968) was an Argentine-Italian painter, sculptor and theorist. There is a side table, two coffee tables and a console/sofa table. 'The Shape of the Century'. Concentrated in the center of the canvas, not quite reaching the edges, the shapes and overall spectacle suggested by the holes create another dimension beyond the typically flat surface of a regular painting. Four more books followed under Mortimer with cover art by James Lowe based on circles: The cover concept was dropped after this and a new design was used that featured a portrait of the Modern Master as a line drawing or later a tinted photograph, and mixed serif and sans-serif typefaces, upright and italic fonts, block capitals, lowercase letters and faux handwriting. One of Fontana's first cycles of works, the buchi (holes) series features the opening of the canvas surface to expose the space behind it. The shape of the terra-cotta slab resembles the grave stones and funerary sculpture that Fontana's father had created for his clients, yet Fontana decided to disrupt this resemblance by adding implied depth to the image rather than allowing the flat surface to support similarly flat visual or textual content. Now, over forty years later, the artist has released Cascade as a limited edition signed print. A 4:30 p.m. reception, also in Mabee Hall, will precede the lecture. Painted clay - Fondazione Lucio Fontana, Milan. See more ideas about lucio fontana, fontana, contemporary art. Moving away from the creative gesture that directly stemmed from the physical, inspired movements of the artist's hands, Fontana's cuts are products of a sharp knife that minimize the trace of the artist's body and mind. The design was used for reprints and six new titles: Fontana's use of art as book covers went full circle in 2003-05 when the British conceptual artist Jamie Shovlin 'reproduced' the covers of the forty-eight Fontana Modern Masters from Camus to Barthes as a series of flawed paintings (the titles are missing and the colours have run) in watercolour and ink on paper, each measuring 28 x 19 cm. The repeated cuts appear almost machine made, insisting on the productive quality of modern mechanisms rather than the timeless value of the artist himself. At the time Fontana was creating his buchi cycle, he was also working closely with post-war Italian architecture projects, including ceiling decorations for cinema houses that included punctures, or holes, creating an illusion of the cosmos hovering above. Lucio Fontanawas an Argentine-Italian artist known as the founder of Spatialism. ©2021 The Art Story Foundation. Artwork page for ‘Spatial Concept ‘Waiting’’, Lucio Fontana, 1960 In 1959, Fontana began to cut the canvas, with dramatic perfection. As he had with his early ceramics, Fontana used his bare hands to enlarge the holes in the olii canvases. The cut itself would serve as the concept, the process, and the product all in one, creating a new image out of both the desire to break apart assumed barriers and the gesture to open up new visible and invisible spaces. The movement focused on the spatial qualities of sculpture and paintings with the goal of breaking through the two-dimensionality of the traditional picture plane. The Fontana Modern Masters occupy a unique place in publishing history - not for their contents but their covers, which draw on the following developments in twentieth-century art and literature:[2][3]. Discover (and save!) For works with only one cut, the subtitle was attesa, the Italian word meaning expectation or anticipation. Sculptor, painter, and theorist Lucio Fontana is internationally renowned as one of the most innovative artists of the 20th century. Fontana deliberately wanted his audience to feel disoriented when experiencing these installation works - sometimes keeping the installation environments in darkness, with the neon lights as the only illumination in the exhibition space - drawing attention to the unsettling sensations that accompany journeying into the unknown. "Lucio Fontana Artist Overview and Analysis". Italian Painter, Sculptor, and Conceptual Artist. For the first time in France since 1987, more than 200 sculptures, paintings, ceramics and installations … Originally designed with architects Luciano Baldessari and Marcello Grisotti to be installed above the main stairway of the IX Triennale of Milan, this amorphous neon sculpture is an example of Fontana's Ambienti spaziali, or spatial environments - a fascinating thread of fleeting installation works that reflect the artist's interest in diverse media. Amazon.com: Orazio Fontana - 20x24 Modern Black Framed and Double Matted Art by Museum Prints Titled: Pilgrim Bottle: Posters & Prints The works in the tagli cycle, were given unique subtitles that depended on the number of cuts present in the canvases. your own Pins on Pinterest Choose your favorite fontana paintings from millions of available designs. Make & Create is $5 per participant, materials provided. To do this he devised a 'Fontana Colour Chart' based on the covers of the published books, and a scoring system that - like his paintings - was deliberately flawed. On seeing Bevan's work, Constable commissioned him to create the covers for the first ten Fontana Modern Masters, which Bevan painted as rectilinear arrangements of tesselating blocks. This medium-sized work (measuring 40 x 32 inches) is a warm, ochre-toned monochromatic plane, sliced by one of these signature tagli, which created a dynamic vertical, slightly right-leaning diagonal line down the center of the canvas. He is mostly known as the founder of Spatialism. Unlike the smooth surfaces of the monochrome tagli works and the precise, straight edges of the cuts along the canvases, the textured holes of the olii series reveal the physical movements of the artist in an anxious, fretful way. Fontana recalls the art of earlier civilizations and introduces elements of modern art in this work, harkening back to Ancient Greek black-figure pottery in both style and name while playing with the multiple perspectives that fascinated modern abstract artists, such as the Cubists and Futurists. With this label, Fontana draws attention to the ongoing possibilities that lie in the unknown future, as well as man's perception of time as a psychological experience as much as a physical one. Sculpture Modern Art Lucio Fontana Century Art Drawings Statue Art Event Italian Design Paris – Lucio Fontana: Retrospective at Museum D’Art Moderne Through August 24th, 2014 Global contemporary art events and news observed from New York City. When the sale opens, all pre-registered Artsy users can participate and watch the bidding … Friday, January 22 @ 5:15pm-6:45pm: Kid's Paint Night - Winter Wonderland Friday, February 5 @ 5:30pm-6:30pm: Little Tykes Paint Night - Arts & Hearts Please click here for more information or to register for these upcoming events. What's more, the colored glass pieces allowed the physical element of light surrounding the painting to become an active agent in the image as light was captured and reflected by the individual objects. Lucio Fontana wurde mit Messer und Pinsel zu einem der experimentierfreudigsten und innovativsten Künstler des 20. The cover concept was the brainchild of Fontana's art director John Constable, who had been experimenting with a cover treatment based on cut-ups of The Mud Bath, a key work of British geometric abstraction by the painter David Bomberg. This late concetto spaziale work, completed during the final year of the artist's life, features thick, impasto oil paint surrounding the central hole, representative of Fontana's olii (oil) technique. The Italian lighting company's award-winning contemporary lighting innovations, beginning with Ponti's iconic 0024 Pendant lamp, have been celebrated for their inventive forms and lighting excellence, characteristics that have made FontanaArte an … LUCIO FONTANA1899 - 1968 CONCETTO SPAZIALEsignedengobed terracotta, holes, incisions and graffiti, black and whiteExecuted in 1951-52This work is registered in theFondazione Lucio Fontana, Milan, with the n.4323/1and it is accompanied by a photo-certificate issued by theFondazione Lucio Fontana, Milan. The eventual tension and psychological conflict that results from the constant march of progress is not ignored by Fontana, regardless of his tireless curiosity. 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