Lucio Fontana

Lucio Fontana, born in Rosario de Santa Fé in 1899 to an Italian sculptor, commenced his artistic journey by studying in Milan. In 1922, he returned to Argentina, collaborating with his father until 1924 when he established his own sculpture studio. After resuming studies at the Brera Academy in 1928 under Adolfo Wildt, he graduated in 1930. The same year saw the creation of "Uomo nero," reflecting his distinctive post-Cubist style. In 1930, Fontana participated in the Venice Biennale and held his inaugural solo exhibition at Galleria del Milione.

His creative evolution continued through the 1930s, exploring both figurative and abstract expressions. Joining the Italian abstractionists in 1934, Fontana played a key role in the Prima Mostra Collettiva di Arte Astratta Italiana in 1935. His experimentation extended to ceramics during this period. Despite briefly aligning with the Corrente movement in Italy, Fontana pursued a predominantly figurative style during his wartime stay in Argentina.

In 1946, Fontana co-founded the Altamira Academy in Buenos Aires, a hub for young artists and intellectuals. The seminal Manifesto Bianco, outlining the theoretical tenets of Spatialism, emerged from this collaboration. Returning to Italy in 1947, Fontana developed five manifestos on Spatialism between 1947 and 1952.

Until 1949, Fontana immersed himself in sculpture, making a significant impact at the Venice Biennale. His breakthrough came in 1949 with the Ambiente Spaziale at the Galleria del Naviglio in Milan, featuring illuminated three-dimensional shapes. Notably, in 1951, he created a large neon installation at the IX Triennale in Milan and introduced canvases with "holes" in 1952.

The 1950s and 1960s marked a period of prolific experimentation for Fontana. He introduced the "cuts" in 1958, a motif that became iconic alongside the "holes." His exploration extended to ceramics, sculptures, and architectural installations. In 1961, he dedicated a series of works to Venice.

Fontana's distinct motifs, such as the "holes" and "cuts," became unmistakable features of his artistic production. His contributions to the art world concluded with his death in Comabbio, Varese, on September 7, 1968.