Acquired from the above by the present owner in the early 1980s
Guido Ballo, Fontana: idea per un ritratto, Turin 1970, p. 231, no. 270, illustrated
Enrico Crispolti, Lucio Fontana, Catalogue Raisonné des Peintures et Environments Spatiaux, Vol. II, Brussels 1974, p. 161, no. 65 T 34, illustrated (colour incorrectly described)
Enrico Crispolti, Fontana: Catalogo Generale, Vol. II, Milan 1986, p. 563, no. 65 T 34, illustrated (colour incorrectly described)
Enrico Crispolti, Lucio Fontana, Catalogo Ragionato di Sculture, Dipinti, Ambientazioni, Vol. II, Milan 2006, p. 752, no. 65 T 34, illustrated (colour incorrectly described)
In the present example, however, Fontana’s indulgence in a sensual and hot pink brings a profoundly human element into his theoretical concerns. Developing the notion of Cartesian three-dimensional space and the division between inner and outer body, Fontana crafts an enigmatic orifice-like rupture that alludes not only to the astrophysical make-up of the universe but also the ontological existence of humanity and the biological origins of human life. Inscribed on the back with the maxim “hoy es un dia meravilloso” (today is a wonderful day) Concetto Spaziale Attesa becomes a jubilant metaphor for birth and man’s conception of his own life-force within the endless cycles of reproduction that constitute the universe in all its systemic dynamism.
Fontana’s intuitive understanding of conceiving form through absence and presence recalls his background as a sculptor and, most poignantly in this instance, his Natura sculptures which often bear the same violent incision across a dense body and encourage a phenomenological appreciation of basic matter. The artist’s famed Fine di Dio series also bear an iconography of ‘creation’ that traverses biology and physics. The egg-shaped canvases punctured with holes that evoke Luna craters each offer a poetic visualisation of man’s interminable bond to the progenitive cosmos. The charismatic physical presence of these shaped canvases is recalled by the present work’s unique orientation; the oblique format detracts from the sense of expansive psychological space associated with the standard rectangular frame, historically viewed as a window to the world. Privileging object over image, Fontana only ever made five canvases in the diamond format. The present work is the largest of these, alongside another canvas of the same dimensions created in the same year. Painted in the contrastingly gendered colour of blue, together they embody the stereotypical and dichotomous tonal paradigm of boy and girl and the biological origins of human creation.
Nuancing his quest for the absolute through a nod to the most absolute origin of humanity, the artist forges a philosophical nexus that expresses the eternal dimensions of man, the universe and art. As Fontana had originally conceived in his very first Spatialist manifesto: “The work of art is not eternal; and his creations exist in time, and where man ends, the infinite continues” (Lucio Fontana, ‘Technical manifesto of Spatialism’, 1951, reproduced in: Guido Ballo, Lucio Fontana, New York 1971, pp. 228-31). With a major exhibition planned to take place at the Metropolitan Museum of Art in New York this year, undoubtedly the sheer genius of Fontana remains equally enduring.
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