Lucio Fontana and Architecture (original) (raw)
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Lucio Fontana and the Architecture
2017
This article explores the Spatialism in architectural terms, which is at the base of Lucio Fontana’s work after the Second World War. A fundamental and lesser-known aspect of the artist’s work, developed since 1949, is the creation of ‘Ambienti Spaziali’, really and truly architectural spaces that test the perception and often even the sense of balance of visitors. Thus, the article highlights Fontana’s figure as an environmental artist, investigating the artist’s most intimate work and poetics, a topic often neglected by international critics and not highly considered by the most authoritative sources.
Ceramica e arti decorative del Novecento, 2020
“Servitore di due padroni”. Le sculture di Lucio Fontana al Cinema Arlecchino di Milano (1948). L’articolo analizza l’insieme delle plastiche ceramiche e in “falsa ceramica” realizzato da Fontana per il Cinema Arlecchino di Milano progettato dagli architetti Roberto Menghi e Mario Righini nel 1948. Le vicende che hanno portato alla realizzazione del sistema dec- orativo (oggi dislocato presso la Fondazione Prada, Milano e in collezioni private) oltre a trarre da un ingiusto oblio l’intervento considerato “decorativo”, appunto, evidenziano come gli artisti siano stati chiamati, insieme agli architetti e agli intellettuali, a fare da motore alla rinascita delle città italiane dell’immediato dopoguerra e come Fontana, tra gli altri, abbia avviato collaborazioni, come nel caso della sala cinematografica, con profes- sionisti di spicco della scena milanese. Inoltre permette di focalizzarsi su una fase cruciale della carriera dell’artista, parallelamente impegnato nei “proclami” astrattisti, ma con- centrato, nel caso dell’ambiente pubblico destinato a distratti spettatori, su una rappre- sentazione ancora realistica in cui il processo esecutivo e la resa materica contribuiscono a connotare uno spazio.
Lucio Fontana in Argentina (1922-1928): le origini
Valori Tattili, 2021
The 1920s represent Lucio Fontana's artistic debut, made possible thanks to an initial reflection on his origins. From the Portrait to Louis Pasteur (1924), a work that is in continuity with the realism practiced in his father's workshop, we move on to works such as the Via Crucis Piovella, in which secessionist-barbarian influences emerge, in which secessionist-barbarian influences emerge, up to the derivations coming from the "Ritorno all'Ordine" movements (Monument to Juana Blanco)and Wildt's symbolist expressionism. influences that are not divorced from political influences linked to the fascist regime, to which the family is close. The meeting with Julio Vanzo leads to enhance the suggestions coming from the European avant-gardes, with an attention to the cubo-futurist research of Archipenko and the Second Futurism. Starting from these influences and supported by the critic Juan Zocchi, Vanzo and Fontana became promoters in Rosario of a "primitivist", who finds his manifesto in the periodical "Ahora", contributing to the spread of the languages of contemporary art in South Amer
Electronic Imaging & the Visual Arts : EVA 2013 Florence : 15-16 May 2013, 2013
The work presented here will show the story, the procedures and the methodology operated to rebuild the “Fontana di Sala Grande” from Bartolomeo Ammannati to its original composition, digitally working on the remains and reconstructing the missing parts, to reach the final result represented by the current, permanent, exhibition of the complete group in the Bargello Museum. A meaningful attention will be given to the digital reconstruction of the “what if” version of the "Salone dei Cinquecento" with the fountain placed in. In this research an accurate investigation supported by digital survey and modeling resurrect a monument.