Lucio Fontana

Alexander Iolas Gallery, Paris
Acquired directly from the above by the present owner in 1974

Enrico Crispolti, Lucio Fontana, Catalogo Generale, vol. II, Milan 1974, p. 168, no. 65 TE 13, illustrated
Enrico Crispolti, Lucio Fontana, Catalogo Generale, vol. II, Milan 1986, p. 592, no. 65 TE 13, illustrated
Enrico Crispolti, Lucio Fontana, Catalogo Generale, vol. II, Milan 2006, p. 778, no. 65 TE 13, illustrated

Colour: The colours in the catalogue illustration are fairly accurate, although the canvas tends more towards a soft white in the original. Condition: This work is in very good condition. There is very light wear to all four corners and in a few places along the sides of the frame . Close inspection reveals a small number of specks of surface loss and scattered light media accretions to the frame. There is a minute media accretion and a very light rub towards the centre of the top left quadrant of the canvas with a few further extremely faint rub marks in a small number of places elsewhere. Examination under ultra-violet light reveals a few spots of retouching in isolated places along the frame.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Concetto Spaziale, (Teatrino) is the culmination of Fontana’s explorations into a highly visual and arresting series created in 1965 called ‘Teatrini’ or ‘little theatres’.  Employing the concept of a confined theatrical space, Fontana produced an exquisitely designed lacquered wooden frame to act as the stage. It sits in front of the monochromatic backdrop casting a delicate lonely shadow upon this ‘scenery’.  Our attention is drawn to centre stage by the delicate, perfectly circular perforations made by the punctured ‘bucci’ that metaphorically open up the pictorial area.

Fontana stated that the inspiration for the ‘Teatrini’ were “forms that man imagines in space” (the artist cited in: Pia Gottschaller, Lucio Fontana: The Artists Materials, Los Angeles 2012, p.114).

The artist usually pierced the holes with long nails after the stretcher and the canvas had been fastened in order to produce the delicate voids that are so integral to his explorations into pictorial space. Fontana explains, “the surface cannot be confined within the edges of the canvas, it extends into the surrounding space.” (The artist in conversation with Daniele Palaozzi in Bit, no.5, Milan 1967)

The monochrome backdrop echoes a calm cloudy sky or poignantly the expanse of the cosmos, which Fontana would often turn to in order to capture a spirituality which resonates throughout his oeuvre. The intricate lacquered frame seems to want to expand, and creates a feeling of spatiality and a three-dimensionality.

“In the Teatrini it is possible to achieve a sort of contemporary unity between image, object, material and that ‘philosophical’ state to which the artist often draws attention as the new idea. The man in space is alone, alone facing infinity.” (the artist quoted in: Exhibition Catalogue, Rome, Palazzo delle Espozioni, Lucio Fontana, 1998, p.245)