LUCIO FONTANA | Madonna

Collezione privata, Novara (acquistato direttamente dall'artista alla fine degli anni Cinquanta)
Ivi acquisito dall'attuale proprietario

A professional condition report is available upon request at the department.
"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."

In questa Madonna è forte l’istintività del lavorare la materia, del plasticarla, del provarne tutta la ricchezza nella sua primigenìa. Come nelle scene della Via Crucis custodite nella chiesa di San Fedele di Milano e nelle molteplici versioni del Cristo in croce, Fontana con quest’opera non intende essere esplicitamente decorativo, bensì reinterpretare in chiave personale il proprio sentire religioso e umano.  
Il legame con Albissola è preponderante e solido; città complice dell’antica tradizione ceramista che ha saputo coinvolgere l’autore in un vortice creativo dalla commovente plasticità lirica lungo tutta la sua vita artistica.
La Madonna è intrisa di luce ed è essa stessa materia in movimento, pare quasi emergere da una nube compatta e madida di vitale forza e di speranza, solenne come una vestale e ieratica come il profumato incenso.
In this Madonna we sense a strong instinct to work the material, to make it plastic, to prove all its richness in its primality. As in the scenes of the Via Crucis, in the Milanese church of San Fedele, and in the many versions of Christ on the cross, Fontana does not intend to be explicitly decorative, but rather to reinterpret in a personal key its religious and human feeling.
The link to Albissola is preponderant and solid. This was a city which was celebrated in the ancient ceramist tradition and involves the author in a creative vortex with a moving lyrical plasticity throughout his artistic life.
The Madonna is imbued with light and it is matter itself in movement, it seems almost to emerge from a compact cloud, full of vital strength and hope, solemn as a vestal virgin and hieratic as fragrant incense.



Opera registrata presso la Fondazione Lucio Fontana, Milano, con il n. 471/1 L'opera è accompagnata da certificato su fotografia rilasciato dalla Fondazione Lucio Fontana, Milano