Fontana is one of the most innovative artists in the history of contemporary art. He knew how to abandon all antiquated artistic traditions in search of a new path. The cuts represent absolutely pure canvases, where only the gesture of Fontana, immediate, dazzling and surgical, affixes an irreplaceable and unmistakable signature onto the painting. Fontana's Spatialism dates back to 1946 when he wrote the 'Manifesto Blanco', alongside a group of Argentine artists, satisfying his need to go beyond the limits of the canvas. In this document, Fontana underlines that "Man is exhausted with pictorial and sculptural forms. His experiences, his oppressive repetitions attest to the fact that these arts remain stagnant in values alien to our civilization, with no possibility of development in the future ".
This cut, which dates back to the final period of the artist's life, sums up Fontana's desire to carve a new path for himself. The cut is accompanied by an intense turquoise blue, a perfectly preserved wound, still stretched in all its expressive force. He reinforced this when writing in the Manifesto Blanco, "new art takes its elements from nature. Existence, nature and matter are in perfect unity. They develop over time and in space. Change is the essential condition of existence. Movement, the property of evolving and developing is the basic condition of matter. This exists in movement only. Its development is eternal. Colour and sound are found in nature." The turquoise colour inevitably reminds us of water and air which, coupled with the slash, creates a "perfect unity". The particular colour of this taglio (cut), its impeccable preservation and the date of creation make it a masterpiece among masterpieces.
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