Lucio Fontana

Opera acquistata dall'attuale proprietario direttamente dall'artista nel 1968

Please refer to the Modern and Contemporary Art department for a professional condition report.
"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."

Fontana viene da Wildt, che esasperava i piani concavi e quelli convessi, che faceva i buchi degli occhi. Lucio viene dal suo maestro di Brera più di quanto si possa immaginare. Wildt era un artista molto interessante, che amava il vuoto. Così Fontana parte dal vuoto, senza il quale gran parte della sua opera non esisterebbe. 

Fontana comes from Wildt, which exasperated the concave and convex plans, which made the holes of the eyes. Lucio comes from his master of Brera more than we can imagine. Wildt was a very interesting artist, who loved the void. In this way Fontana starts from the void, without which much of his work would not exist.

Guido Ballo in conversazione con Tommaso Trini, in catalogo della mostra, Centenario di Lucio Fontana, Milano 1999, p. 259