The First Art Newspaper on the Net    Established in 1996 Thursday, October 21, 2021

Galerie Karsten Greve opens a solo exhibition featuring ceramics and works on paper by Lucio Fontana
Lucio Fontana, Concetto Spaziale, 1951. Terracotta, painted, 23 x 30 cm / 9 x 11 3/4 in., signed and dated recto lower right : L.Fontana 51 AF # 4156 / 25 Cat. Rais. Crispolti, 2006, I, 54 SC 16 LF/S 63. Courtesy Galerie Karsten Greve Kln / Paris St. Moritz.

COLOGNE.- Galerie Karsten Greve is presenting a solo exhibition featuring ceramics and works on paper by Lucio Fontana in Cologne. Since 1977, Galerie Karsten Greve has represented the Italian artist, who spent his whole life focusing on sculpture and searching for a new dimension, and dedicate d comprehensive exhibitions and four catalogues to his work. Lucio Fontana Ceramics is the eighth one man show to open at Karsten Greve’s Cologne gallery. A total of about forty pieces are being shown in the context of Fontana’s avant garde oeuvre, including ceramic sculptures and so called Concetti spaziali (“spatial concepts”) as well as works on paper known as Ambienti spaziali.

In Lucio Fontana’s early years, during various sessions in the famous ceramics workshops in Albisola in 1934 and 1936, the artist created remarkable sculptures inspired by natural forms such as Coccodrillo (and more a morphous pieces including Conchiglia e Polpo (Sea shell and or Farfalla e Conchiglia (Butterfly and sea shell). Ceramics painted with glaze colors dominated from 1936 when Fontana returned to figurative sculpture. During a session at the porcelain factory of Svres near Paris in 1937, he created heads, figures, animal s, and still lifes characterized by expressive dynamics, specifically texture d surfaces and opalescent colors The series of polychrome ceramic sculptures that Lucio Fontana made in t hat period include two popular figures from the Italian Commedia dell’arte, Arlecchino and Colombina, terracotta sculptures that almost dissolve in their terpsichorean representation of movement.

Born in Rosario, in the province of Santa Fe, Argentina, in 1899, to Italian immigrant parents, Lucio Fontana spent the first years of his life in Milan, enrolling at a school of engineering in 1914. Returning to Argentina in 1922, he worked in his father's sculpture studio before opening one of his own in 1924. Towards the end of the 1920s, he went back to Italy to study at the Accademia di Brera, as a student of sculptor Adolfo Wildt, for two years. From 1939, he lived in Argentina again, and, after settling in Buenos Aires in 1940, Fontana became a teacher at the Altamira art school. During this period, he worked on the Manifiesto Blanco, in which he called for a synthesis of the arts and the abolition of conventional materials, propagating the dimensions of time and movement in space instead. In 1947, Lucio Fontana returned to Milan, where he founded the „Movimento spaziale“ group of artists, published two manifestos of Spazialismo, and went on to become one of the most distinguished avant-garde artists of the first post-war generation. He died in Comabbio (Varese) in 1968.

Since the 1930s, Lucio Fontana’s works have regularly been presented in international solo and group exhibitions, including at the XXIV Biennale di Venezia (1948), documenta II (1959) and documenta IV (1968), Centre Georges Pompidou, Paris (1987), Museum Moderner Kunst Stiftung Ludwig, Vienna (1996/97), Hayward Gallery, London (1999-2000), Metropolitan Museum of Art, New York (2019), Galleria Borghese, Rome (2019), and the Museum of Modern Art, Moscow (2019/20); his works are part of the public collections of international institutions such as The Art Institute of Chicago, United States, Museum Ludwig in Cologne, Tate Modern in London, Pinakothek der Moderne in Munich, the Museum of Modern Art, New York, or The National Museum of Modern Art in Tokyo.

Having returned to Italy in 1947, Fontana created his first works corresponding to his new conception of space as put into words for the first time in his theoretical treatise, Manifiesto Blanco. From this time forth, the artist was to refer to his works by the title of Concetto spaziale The appropriation of space based on expressive, dynamic gestures manifests itself in the upward movement of the figures in the group of works known as Crocifissi (Crucifixes) and Crocifissioni (Crucifixions). As evidenced by the bulging of the draped loincloth of Christ and the sweeping folds of the robe, Lucio Fontana processed the clay with a view to spatial expansion in a baroque style. These ceramics are particularly fascinating as they allow Fontana’s spatial concept to be experienced in a sensual manner

Today's News

November 19, 2020

Exhibition of paintings on paper by Cleve Gray opens in New York

Discovered Constable oil of Dedham Vale to be sold at auction in East Anglia

Director of Mass MoCA, playground for artists, moves on

Nearly a third of U.S. museums remain closed by pandemic, survey shows

Let it go! Japan PM declares war on ink stamp 'hanko'

Galerie Karsten Greve opens a solo exhibition featuring ceramics and works on paper by Lucio Fontana

Sheldon H. Solow, Manhattan real estate mogul, dies at 92

Gladstone Gallery presents new paintings from Carroll Dunham's ongoing wrestler series

AIPAD collaborates with Sotheby's: New online photography auction announced

Christie's Classic Week presents a rare Roman marble of Dionysus

Exhibition at Museum Voorlinden offers a visual journey of discovery through 'Listen to Your Eyes'

Yesomi Umolu appointed as Director of Curatorial Affairs and Public Practice at The Serpentine

Galerie Guido W. Baudach opens an exhibition of new paintings by Thomas Helbig

Space Lace, stars' No. 1 choice for vintage designer fashion, to host Dec. 4 online auction

What did Europe smell like centuries ago? Historians set out to re-create lost smells.

The 12th edition of Abu Dhabi Art opens as a virtual fair

Jill Paton Walsh, multigenerational writer, dies at 83

JD Malat Gallery presents a new body of work from Swiss artist Conrad Jon Godly

Artpace San Antonio keeps the residency program going strong with new exhibitions

Stitched into neighborhoods, dance studios battle to stay open

Why do we care so much about Diana's dresses?

Don't poo-poo it! Indian dung festival celebrates end to Diwali

Kandinsky and Chagall triumph in Bonhams New York Impressionist and Modern Art sale

Two Indian Mutiny Victoria Crosses sell for £360,000 at auction

Give some attention to these amazing benefits of online gambling

Soundcloud - open new creative possibilities

Enjoy The Excitement Of Variety Online Game Racing

5 Reasons Why Video Poker Is Better Than Baccarat

Vietnamese Culture - Things You Don't Have the Foggiest Idea

Vietnamese Culture - Things You Don't Have the Foggiest Idea

How COVID-19 Has Affected The Arts Industry

Museums, Exhibits, Artists, Milestones, Digital Art, Architecture, Photography,
Photographers, Special Photos, Special Reports, Featured Stories, Auctions, Art Fairs,
Anecdotes, Art Quiz, Education, Mythology, 3D Images, Last Week, .


Ignacio Villarreal
(1941 - 2019)
Editor & Publisher: Jose Villarreal
Art Director: Juan José Sepúlveda Ramírez

sa gaming free credit

Royalville Communications, Inc
Founder's Site. The most varied versions
of this beautiful prayer.
to a Mexican poet.

The First Art Newspaper on the Net. The Best Versions Of Ave Maria Song Junco de la Vega Site Ignacio Villarreal Site Parroquia Natividad del Señor
Tell a Friend
Dear User, please complete the form below in order to recommend the Artdaily newsletter to someone you know.
Please complete all fields marked *.
Sending Mail
Sending Successful