Item description for Lucio Fontana by Lucio Fontana & Enrico Crispolti...
In the 1940s, the Italian painter and sculptor Lucio Fontana carried out a gesture that revolutionized the history of contemporary art: He punctured and slashed the canvas, leaving fissures in its surface and creating a new dimension in painting. Recognized as one of the masters of the international midcentury avant-garde, Fontana, who was actually born in Argentina, is considered a father of postwar monochromatic abstraction and Conceptual art. Organized by curator Luca Massimo Barbero of the Peggy Guggenheim Collection, Lucio Fontana: Venice/New York catalogues the artist's first exhibition in the U.S. since the Guggenheim's landmark 1977 retrospective. Furthermore, it introduces two rarely seen bodies of work that were created around the cities of Venice and New York, presented together here for the first time. The Venice paintings, shimmering surfaces in silver and gold that recall the mosaics of St. Mark's and that city's Byzantine splendor, are juxtaposed with the New York works--giant sheets of shiny and scratched copper, cut through by dynamic vertical gestures that conjure the force of Manhattan and its powerful, electric skyline. Featuring a facsimile reproduction of Fontana's 1947 "Manifesto Tecnico," as well as essays by Barbero and other leading scholars of the artist's oeuvre, including Enrico Crispolti (author of the Fontana catalogue raisonne), Paolo Campiglio and Barbara Ferriani.
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Est. Packaging Dimensions: Length: 1.25" Width: 9.75" Height: 11.5" Weight: 4.85 lbs.
Release Date Aug 2, 1999
ISBN 8881582058 ISBN13 9788881582051
Reviews - What do customers think about Lucio Fontana?
A limited look at Fontana's work Mar 23, 2008
Far from being a retrospective, this book, the catalogue for an exhibition held at the Peggy Guggenheim Collection in Venice, is centered on two bodies of works that Fontana created as references to the cities of Venice and NY. The illustrations are of a high quality, the text, though not groundbreaking, is interesting, but the problem lies in the quality of the works: no big red or white slashed canvases, no large egg-shaped punctured paintings from the La Fine di Dio series, in short no masterpieces. Of course, this has to do with the restrictive topic of the exhibition, but it is still disappointing, all the more so as very few books on Fontana are available on the market.