Lucio Fontana, Concetto spaziale, 1956, oil, mixed media and sequins on canvas, 80 x 70 cm. Price available upon inquiry. TORNABUONI ART at TEFAF 2024 © 2024 TEFAF

Provenance: Galleria Blu, Milan.
Liljevalchs Gallery, Stockholm.

Literature: Giulio Carlo Argan, Nuovi materiali nuove tecniche. Venice: 1969, cat. 73.
Galleria Michelucci, Lucio Fontana. Florence: 1971, cat. 25.
Enrico Crispolti, Lucio Fontana. Catalogue raisonné des Peintures, sculptures et environnements spatiaux. Brussels: 1974, p. 48.
Floriano De Santi, Lucio Fontana. Brescia: 1983, cat. no. 2.
Enrico Crispolti, Lucio Fontana. Milan: 1986, p. 173.
Enrico Crispolti, Lucio Fontana. Lugano: 1991, pp. 40–41.
Elena Pontiggia, Bildlyrik Fran Italien. Il miraggio della liricità arte astratta in Italia. Stockholm: 1991, p. 40.
Maria Vescavo and Andreas Hapkemeyer, Lucio Fontana, Arnulf Rainer. Oltre la tela. Bolzano: 1995.
Enrico Crispolti, Lucio Fontana. Catalogo ragionato di sculture, dipinti, ambientazioni. Milan: 2006, p. 326.
Enrico Crispolti, Lucio Fontana. Paris: 2009, pp. 66–67.
Manuela Grassi, “Che sensuali les italiens” Panorama (Paris, 2009), 158.
Enrico Crispolti, Lucio Fontana. Opere 1949-1969. Berlin: 2010, p. 17.
Enrico Crispolti, Lucio Fontana e Parigi. Florence: 2012, p. 45.
“Lucio Fontana. Rétrospective” Connaissance des Arts (Paris, 2014), p. 55.
Lucio Fontana. Rétrospective, Paris: Musée d'Art Moderne de la Ville de Paris, 2014, p. 147.
Enrico Crispolti, Luca Massimo Barbero, Edward Lucie-Smith, Lucio Fontana. Florence: 2015, p. 210.
Tornabuoni Arte, Arte Moderna e Contemporanea. Antologia scelta. Florence: 2017, pp. 94-95.
Tornabuoni Art, Action / Abstration: Alberto Burri, Lucio Fontana. London: 2019, p. 32.
Fatos Ustek, The Unbearable Lightness of Being. London: 2019, p. 24.
Tornabuoni Art, Arte Moderna e Contemporanea. Antologia scelta 2023. Florence: 2022, p. 115.
Luca Massimo Barbero, Enrico Crispolti, Piero Dorazio, Gillo Dorfles, Lucio Fontana. Rome: 2023, pp. 128-129.

"Concetto spaziale" (1956) with its rich mustard-yellow tones of thickly layered oil and its sequins and holes is a remarkable example of Lucio Fontana's practice in the mid 1950s and in particular of the "Barocchi" cycle (1954-1957).
In speaking about the influence the baroque period had on his work, Lucio Fontana stated: “A change is necessary both in essence and form. It is necessary to overturn and transform painting, sculpture and poetry. A form of art is now demanded which is based on the necessity of this new vision. The baroque has guided us in this direction, in all its as yet unsurpassed grandeur, where the plastic form is inseparable from the notion of time, the images appear to abandon the plane and continue into space the movements they suggest. This conception arose from man’s new idea of the existence of things; the physics of that period reveal for the first time the nature of dynamics. It is established that movement is an essential condition of matter as a beginning of the conception of the universe”.