盧齊歐‧封塔納

德爾利昂尼畫廊，威尼斯
瑪格列塔先生，羅馬
查爾斯‧奇立溫，布魯塞爾
倫敦蘇富比，1984年6月28日，拍品編號549
私人收藏，瑞典（購於上述拍賣會）
倫敦蘇富比，1992年3月26日，拍品編號27
現有藏家購自上述拍賣會

「盧齊歐‧封塔納，《期望》、《空間的概念》」，羅馬，蹺蹺板畫廊，1967年2月，附圖版

恩里科‧佩萊格里尼，《盧齊歐‧封塔納的孔洞與割痕》，都靈，1966年，圖版頁14
亨利‧基斯伯爾提，《盧齊歐‧封塔納繪畫、雕塑、空間環境藝術專題目錄，第2冊》，布魯塞爾，1974年，品號62 T 35，圖版頁132
亨利．基斯伯爾提，《封塔納總目錄，第2冊》，米蘭，1986年，品號62 T 35，圖版頁448
亨利‧基斯伯爾提、尼尼‧阿德瑪尼‧羅里尼、瓦萊里婭‧歐內斯提，《盧齊歐‧封塔納雕塑、繪畫、環境藝術全集目錄，第2冊》，米蘭，2006年，品號 62 T 35，圖版頁633

This painting is in very good condition. Close inspection reveals a small number of faint and extremely thin burnished rub marks at intervals to the overturn edges and two very faint finger marks towards the top right corner: 2½ and 3¾ inches from the top edge and 3 inches from the right. There is a minute, light grey paint accretion towards the center of the bottom right quadrant, 5¼ inches from the bottom and 6¾ inches from the right, which most likely occurred in the artist's studio. Under UV, there are no apparent restorations. The canvas is mounted behind Plexiglas in a white painted wood box frame with a 3 ¾ inch float.
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.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

"The Infinite, the inconceivable chaos, the end of figuration, nothingness."  The artist cited in Exh. Cat., London, Hayward Gallery, Lucio Fontana, 1999-2000, p. 198

Lucio Fontana's lyrical and elegant Concetto Spaziale comprises a majestic progression of assured incisions across a pristine red canvas: an archetypal exemplar of the artist's famed Tagli series rendered in its most sought-after color. The utter vitality of the intense red pigment is immediately impressive, its brightness amplified through contrast with the plunging black recesses. Loaded with connotative association, Fontana's primary hue here is the red of passion and action, of warmth, danger and violence. The artistic theory behind the creation of the Tagli (cuts), and before then the Buchi (holes), was professed in Fontana's first manifesto, the Manifesto Blanco, published in 1946. Here Fontana proposed the birth of a new 'spatialist' art which sought to articulate the 'fourth dimension.' In this quest, Fontana proposed the artist as the source of creative energy, anticipating future events and engaging with technological advancement. The artist's work should aspire to enlighten ordinary people to the possibilities offered by their environment and society. Ceaselessly engaged with the scientific and technical evolutions achieved throughout the Twentieth Century, he incorporated these ideas into his art with a dynamic exploration of method, material and medium. Since first puncturing his canvas in 1949, Fontana had been singularly committed to the Spatialist mission to explore the conceptual depths beyond the limits of the two-dimensional picture plane. A few years following the punctures and piercings of the Buchi, Fontana sharpened his gesture: the elaboration of the hole finds its definitive expression in the elegantly vigorous Tagli which would dominate Fontana's oeuvre thereafter.

This is as much a conceptual leap as it is a visual one, with the space created by the slash standing for the idea of a space without physical boundaries. Fontana was fascinated by space and energy as invisible elements essential to both life and art. For him the taglio was the distillation of pure space and pure energy in a single gesture. Yves Klein, greatly influenced by Fontana, was concomitantly exploring his own idiosyncratic solutions to the same formal and conceptual conundrums, developing his blue monochromes to enshrine in art what he dubbed the void and conducting his Anthropometries in order to condense movement and energy into the picture plane.

Fontana began his process of making the slits by painting the canvas ground with industrial emulsion in pure monochrome. While the canvas surface was still damp he placed it on an easel and executed the cut with a Stanley-knife in a single, precise downward movement. The canvas was then left to dry, the incision in place. There was no room for error: if the cut deviated from Fontana's desired line, the entire canvas was discarded, the work destroyed. The cut, as unrepeatable as a brushstroke, could not be corrected. Once the slit was made Fontana would enlarge the furrow with his hand, gently opening the sides of the cut in an act akin to a 'caress', as one close observer described it. To hold the cut in place, Fontana applied black gauze to the reverse, covering the cut from top to bottom. The final gesture would complete the work: the lightest touch of his hand would ease the edges of the incision slightly inwards, instilling a suggestion of three-dimensional form to the flat canvas.

With Concetto Spaziale, the viewer is presented with a masterpiece from the series of Tagli, where apparently abstract cuts elicit an intense emotional reaction from the viewer. The ineluctable smoothness of the crimson pigment saturates the canvas like blood seeping from an open wound. Onto this seductive field of color, four precise and rhythmic incisions dance across the surface, penetrating as they traverse the picture plane. Each slit is of almost equal length, the harmony deliberately upset by Fontana's angling of the cuts, and the squeezing constriction of the intervals in between. With nervous energy and dynamic force, space pulses through the openings.

The striking color of the red canvas ground is dramatic as it is symbolic: red carries a multitude of associations. In religious imagery, red is the color of Mary Magdalene's robes and is symbolic of Christ's Passion. We feel the sharpness of the cut, the dagger-like knife which slits and violates the pure unadulterated canvas field. The edges of each slit, as if recoiling from an assault, curl inwards creating rhythmic curved recessions leading our eye into the darkly imagined space beyond. Compositionally dynamic and mesmerizing in its beauty, Concetto Spaziale embodies the artist's revolutionary spatial theories while engendering a unique dialogue with the symbolic value of color and form.