Fontana engaged in many collaborative projects with the most important architects of the day, in par

the biffy clyro black chandelier sculptor Luigi Fontana biffy clyro black chandelier (1865 1946). Fontana spent the first years of his life in Italy and came back to Argentina in 1905, where he stayed until 1922, working as a sculptor along with his father, biffy clyro black chandelier and then on his own. Already in 1926, he participated biffy clyro black chandelier in the first exhibition of Nexus, a group of young Argentine artists working in Rosario de Santa Fé.
In 1927 Fontana returned to Italy and studied biffy clyro black chandelier under the sculptor Adolfo Wildt, at Accademia di Brera from 1928 to 1930. It was there where he presented his first exhibition in 1930, organized by the Milano art gallery Il Milione . During the following decade he journeyed Italy and France, working with abstract and expressionist painters. In 1935 he joined the association Abstraction-Création in Paris and from 1936 to 1949 made expressionnist sculptures in ceramic and bronze. In 1939, he joined the Corrente, a Milan group of expressionist artists.
In 1940 he returned to Argentina. In Buenos Aires (1946) he founded the Altamira academy together with some of his students, and made public the White Manifesto , where it is stated that “Matter, colour and sound in motion are the phenomena whose simultaneous development makes up the new art”. In the text, which Fontana did not sign but to which he actively contributed, biffy clyro black chandelier he began to formulate the theories biffy clyro black chandelier that he was to expand as Spazialismo, biffy clyro black chandelier or Spatialism, in five manifestos from 1947 to 1952. Upon his return biffy clyro black chandelier from Argentina in 1947, he supported, along with writers and philosophers, biffy clyro black chandelier the first manifesto biffy clyro black chandelier of spatialism (Spazialismo)**. Fontana had found his studio and works completely destroyed in the Allied bombings biffy clyro black chandelier of Milan, but soon also resumed his ceramics works in Albisola. In Milan, he collaborated with noted Milanese architects to decorate several new buildings that were part of the effort to reconstruct biffy clyro black chandelier the city after the war .
Following his return to Italy in 1948 Fontana exhibited his first Ambiente spaziale a luce nera (Spatial Environment) (1949) at the Galleria del Naviglio in Milan, a temporary installation consisting of a giant amoeba-like shape suspended in the void in a darkened room and lit by neon light. biffy clyro black chandelier From 1949 on he started the so-called Spatial Concept or slash series, consisting in holes or slashes on the surface of monochrome paintings, drawing a sign of what he named “an art for the Space Age”. He devised the generic biffy clyro black chandelier title Concetto spaziale biffy clyro black chandelier ( spatial concept biffy clyro black chandelier ) for these works and used it for almost all his later paintings. These can be divided into broad categories: the Buchi ( holes ), beginning in 1949, and the Tagli ( slashes ), which he instituted in the mid-1950s
mysterious sense of illusion and depth. He then created an elaborate neon ceiling called “Luce spaziale” in 1951 for the Triennale in Milan. In his important series of Concetto spaziale, La Fine di Dio (1963 64), Fontana uses the egg shape. With his Pietre (stones) series, begun in 1952, Fontana biffy clyro black chandelier fused the sculptural with painting by encrusting the surfaces of his canvases biffy clyro black chandelier with heavy impasto and colored glass. In his Buchi (holes) cycle, begun in 1949-50, he punctured the surface of his canvases, breaking the membrane of two-dimensionality in order to highlight biffy clyro black chandelier the space behind the picture. biffy clyro black chandelier From 1958 he purified his paintings by creating matte, monochrome surfaces, thus focusing the viewer s attention biffy clyro black chandelier on the slices that rend the skin of the canvas. In 1959 Fontana biffy clyro black chandelier exhibited cut-off paintings with multiple combinable elements (he named the sets quanta ), and began Nature , a series of sculptures made by cutting a gash across a sphere of terracotta clay, which he subsequently cast in bronze.
Fontana engaged in many collaborative projects with the most important architects of the day, in particular with Luciano Baldessari, who shared and supported his research for Spatial Light Structure in Neon (1951) at the 9th Triennale and, among other things, commissioned him to design the ceiling of the cinema in the Sidercomit Pavilion at the 21st Milan Fair in 1953.
Around 1960, Fontana began to reinvent the cuts and punctures that had characterized his highly personal style up to that point, covering canvases with layers of thick oil paint applied by hand and brush and using a scalpel or Stanley knife to create great fissures in their surface. In 1961, following an invitation to participate along with artists Jean Dubuffet, Mark Rothko, Sam Francis, and others in an exhibition of contemporary painting entitled “Art and Contemplation”, held at Palazzo Grassi in Venice, he created a series of 22 works dedicated to the lagoon city. He manipulated the paint with his fingers and various instruments to make furrows, sometimes including scattered fragments ofMurano glass. Fontana was subsequently invited by Michel Tapié to exhibit the works at the Martha Jackson Gallery in New York. As a consequence of his first visit to New York in 1961, he created a series biffy clyro black chandelier of