Lucio Fontana - Casa Fornaroli London Thursday, April 27, 2023 | Phillips

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  • Small but mighty, this Concetto spaziale is a true artistic gem that embodies one of the many aspects of Lucio Fontana's rich and polymorphic practice of the 1960s. Executed alongside but radically different to the artist’s minimalist cycle Concetti spaziali – Tagli, begun in 1959, this striking yet delicate artwork was part of Antonio Fornaroli’s most personal effects.

     

    This work was likely a rather special memento for guests who attended Gino and Elena Cremaschi’s silver anniversary celebrations in 1963, as revealed by the inscription on the reverse. The Cremaschis were part of the cultured Italian bourgeoisie of the time who, like the Fornarolis, enjoyed and supported the work of contemporary artists. In his 1949 Domus article ‘Una casa non finisce mai’, Gio Ponti praised Elena’s refined taste and elegant interiors that mixed the antique with the contemporary, and the fine with the decorative arts. Her home, like Fornaroli’s, included works by Ponti himself, Pietro Melandri, Paolo De Poli and Fausto Melotti. The same artists were also favoured by architects and tastemakers Ico and Luisa Parisi, who showed their affinity to the arts through their small but influential shop and studio ‘La Ruota’, opened in Como in 1948. The present work displays the shop’s oval label, suggesting it was once likely on display in this creative and collaborative space that promoted the works of contemporary pioneering artists and designers. The date of this piece coincides with a period of close collaboration between Ico Parisi and Lucio Fontana who worked together on the Monumento dei Caduti alla Resistenza (1962) in Cuneo and other site-specific works Fontana executed for Ico and Luisa Parisi’s home in Como.

     

    The execution of this important work falls within Fontana’s Olii phase (1957-1968) and is reminiscent of his Venezia series, first exhibited in July 1961 at the international Arte e Contemplazione exhibition at Palazzo Grassi in Venice and presented later that year at Martha Jackson Gallery in New York, marking Fontana's US debut. The impasto canvases of Fontana’s Olii, as art historian Luca Massimo Barbero put it, served Fontana perfectly as "a surface of Baroque sensuality that could accommodate his new spatial inventions - holes and slashes - and support small fragments of polychrome glass and mirrors".

     

    These inventions are also exemplified on a smaller scale in this Concetto spaziale. The work testifies to Fontana's manual handling of a surface resembling the supple material of the Olii as well as his love of light and reflective materials. The oblong, precious metal surface was in fact executed using the cire-perdue casting technique, reflecting the softer and more malleable wax material of the work’s original mould. It is treated as a plane for the Concetto spaziale, traced with a continuous line and holes of different sizes that gently protrude outwards, as well one red and one azure Murano glass fragment.

     

    Lucio Fontana puncturing a canvas in his studio, Milan, 1963.
    Credit: Photo Ugo Mulas © Ugo Mulas Heirs. All rights reserved.

     

    The press release for the Martha Jackson gallery exhibition describes Fontana’s works of combined "stab holes, cuts in the canvas, pebbles of Murano glass with a new plastic paint" and credits the artist with his "violent yet romantic forms and textures" which, in their baroque aesthetic, convey the "sense of physical depth with surface skin by slashing and piercing all the way through". Characterised by thickly applied glossy acrylic paint, Fontana's Venezia series comprised twenty-two works and was inspired by the city's Byzantine and Baroque architecture. The works titles suggested personal 'ecstasies' experienced by the artist during his Venetian stay, including 'Night of Love in Venice', The Gold of Venice' or 'Venice - Silver at Dawn'.

     

    This outstanding work, housed for many years in Casa Fornaroli, similarly conveys all the richness and baroque sensuality of the Venezia series. It not only explains the use of precious materials in other work by Lucio Fontana - he executed his first piece of jewellery in 1961 in the Milan studio of Gio and Arnaldo Pomodoro to which he "came with a nail in his pocket to pierce a sheet of pure gold that had been prepared by their goldsmith” – but also reveals his appreciation of silvery and gold pigments for their ability to reflect light.

     

    By Dr. Lisa Hockemeyer, Art and Design Historian and Associate Professor of Design, Politecnico di Milano

    • Provenance

      Galleria La Ruota di Ico e Luisa Parisi, Como
      Antonio Fornaroli, Milan
      Thence by descent

    • Catalogue Essay

      Phillips wishes to thank the Fondazione Lucio Fontana, Milan, for their assistance in cataloguing the present lot.

257

'Concetto spaziale'

circa 1963
Punctured and incised precious metal, coloured glass.
20 x 4.3 x 0.6 cm (7 7/8 x 1 3/4 x 0 1/4 in.)
Front signed l. fontana. Reverse impressed with metal fineness mark 925 and NOZZE D ARGENTO/GINO-ELENA CREMASCHI/20 FEBBRAIO 1963 and with foil label impressed LA RUOTA.

Full Cataloguing

Estimate
£5,000 - 7,000 ‡♠

Sold for £53,340

Contact Specialist

Antonia King
Head of Sale, Design
+44 20 7901 7944
Antonia.King@phillips.com

Casa Fornaroli

London Auction 27 April 2023