Lucio Fontana

Galleria Notizie, Turin
Galleria Gissi, Turin
Acquired directly from the above by the present owner

Enrico Crispolti, Lucio Fontana Catalogue Raisonné, Vol. II, Brussels 1974, p. 156, no. 64 T 93, illustrated
Enrico Crispolti, Lucio Fontana Catalogo Generale, Vol. II, Milan 1986, p. 534, no. 64 T 93, illustrated
Enrico Crispolti, Lucio Fontana, Catalogo Ragionato di Sculture, Dipinti, Ambientazioni, Milan 2006, p. 721, no. 64 T 93, illustrated

Colour: The colours in the catalogue illustration are fairly accurate. Condition: This work is in very good condition. Examination under ultraviolet light reveals a few tiny spots of retouching towards the bottom left corner.
"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."

This sumptuous red variation on Fontana's signature Concetto Spaziale, Attese fuses together sensual intimations with the preoccupation at the core of Spatialism, the infinity of space. Exquisitely executed, the three lyrical slashes simultaneously evince spontaneity and control, choreographed into a rhythmic display under the aegis of Fontana's blade. The rich, saturated layer of red waterpaint allows the weave of the canvas to show through, insistently drawing attention to the materiality of the artwork. With a sculptor's sensibility, he discards conventional reverence for the canvas, and instead treats it as an artistic object in its own right. As an image of spatial reality, Fontana emphasises the canvas's presence with bold, invasive gesture. Here we have Fontana at the height of his powers, cutting directly into the canvas, creating a delicious contrast to the delicacy of the waterpaint.

These strokes of genius are the mark of great risk-taking in the studio. Not only did the canvas need to be perfectly taut for a successful result, the outcome depended on the moment of the chance of the performance. It was a case of one strike and out. Time being of the essence, the artwork's magnitude was extended to all four dimensions. The speed of the action recorded in this piece has the effect of 'killing time', while the clarity of the three linear strokes underlines the moment of their creation. Here the pattern of slashes across the canvas is a bravura show of the unrepeatable moment, repeated; the immediacy of the artist's gesture is suspended in time. This is, unusually, a symmetrical arrangement, emphasising the control in the work's creation: although it radiates with a sense of the momentary, there is nothing haphazard about its making. There is a noticeable inclination towards the centre, where the two vertical slashes meet the diagonal slash on the right. The result lends the image a distinctive rhythm of its own, forever held in a dangerous dance, unique among the Tagli series.