Hand-painted painting reproductions - Movements - Spatialism

In the vibrant city of Buenos Aires in 1940, Lucio Fontana, a visionary artist with roots in both Argentina and Italy, embarked on a journey that would eventually give birth to one of the most revolutionary art movements of the 20th century: Spatialism. Collaborating with his colleagues Jorge Romero Brest and Jorge Larco, Fontana founded a private art school known as the "Academia d'Altamira." It was within the walls of this academy, in 1946, that Fontana, along with a group of young artists and intellectuals, penned the "Manifesto Blanco" (The White Manifesto). This document would later be recognized as the first manifesto of the Spatialist movement, setting the stage for a profound transformation in the world of abstract art.

The "Manifesto Blanco" laid out the foundational principles of an art yet to be born, one that would transcend traditional forms and embrace the concepts of time and space. Fontana and his collaborators called for a complete departure from the "use of known forms of art" and instead advocated for the development of an art form that was rooted in the unity of time and space. This radical idea challenged artists to break free from the confines of conventional artistic expressions and explore new dimensions of creativity.

In 1947, Fontana returned to Milan, where a small but dedicated group of artists quickly gathered around him, eager to explore and expand upon his revolutionary ideas. It was during this period that Fontana refined his vision into what would become the technical manifesto of Spatialism. Two additional manifestos followed, further defining the movement: "Spatialists I" (1947), written by the painter Beniamino Joppolo, and "Spatialists II" (1948), authored by the critic Antonino Tullier. In 1951, Fontana published another manifesto, titled "We Continue the Evolution of Art," which complemented the "Proposal for a Regulation of the Spatial Movement" released the previous year. This series of manifestos culminated in 1952 with the "Manifesto of the Spatial Movement for Television," forming a theoretical trilogy that would become the cornerstone of Spatialism.

By 1949, Fontana began experimenting with monochromatic surfaces, subjecting them to a process he described as "maltreatment." He pierced, slashed, and incised the canvas, transforming it from a mere surface into an illusion of space and depth. For Fontana, the canvas was no longer just a support for paint but a medium through which the artist could explore the infinite possibilities of space. These early works, such as "Concetto Spaziale" (Spatial Concept, 1950), marked the beginning of a new era in art. The series, including the "Buchi" (Holes) and "Tagli" (Cuts), represented a radical departure from traditional painting. Fontana's canvases were not meant to be passive objects for observation but active participants in the space around them, opening up to the unpredictable forces of the environment.

Fontana’s works in this period, which he labeled as "Spatial Concepts," extended beyond painting to include sculpture. Pieces like "Concetto Spaziale Teatrino" demonstrated his commitment to exploring the three-dimensional nature of space through various mediums. In 1950, Fontana officially founded the Spatialism movement, attracting other forward-thinking artists such as Mario Deluigi and Roberto Crippa. These Spatialist painters were less concerned with color and the act of painting itself and more focused on creating a pictorial construction that captured movement in space-time. They sought to reveal the hidden natural forces, such as light and elemental particles, which acted uncontrollably upon the surface of the canvas.

A pivotal moment in Fontana’s exploration of Spatialism came from an accident. When one of his canvases, intended for an exhibition in Paris, was damaged, Fontana solidified his intention to physically alter the canvas. With a razor blade, punch, or cutter, he began to slice through the canvas, revealing the three-dimensional space beyond its surface. This technique, seen in works like "Concetto Spaziale, Attese," transformed the canvas into a gateway to another dimension. Fontana even incorporated materials like glass shards and small stones into his paintings, further emphasizing the physicality and texture of his work. His exploration extended to bronze spheres, where he applied the same lacerative gestures, demonstrating that Spatialism was not confined to any single medium.

Fontana's fascination with light also played a crucial role in his Spatialist endeavors. Influenced by the work of Argentine artist Gyula Kosice, a key figure in the MADI movement, Fontana began experimenting with black light, or Wood’s light. In 1949, with the help of architect Luciano Baldessari, Fontana created an immersive installation at the Galleria del Naviglio in Milan. Titled "Ambiente spaziale a luce nera" (Spatial Environment in Black Light), this groundbreaking work plunged viewers into darkness, where abstract colorations seemed to hover above the ground, creating a disorienting and otherworldly experience. This installation marked the first Spatialist artwork, a pioneering effort that would influence the development of environmental and installation art.

Fontana continued to push the boundaries of art with his innovative use of light. In 1951, he created "Luce spaziale" (Spatial Light), a neon structure for the IX Triennale in Milan. This was followed by similar works for the Italian Pavilion at the Turin Exhibition in 1961, among others. These neon sculptures further exemplified Fontana’s commitment to exploring the intersection of art, light, and space.

The first major collective exhibition of the Spatialist movement, titled "Arte Spaziale," brought together the works of Fontana and other like-minded artists, including Giancarlo Carozzi, Roberto Crippa, Mario Deluigi, Gianni Dova, Beniamino Joppolo, and Cesare Peverelli. This exhibition was a powerful illustration of the ideas outlined in the Spatialist manifestos, showcasing the diverse and dynamic approaches that these artists took in their quest to transcend the traditional boundaries of art.

The story of Spatialism is one of innovation, exploration, and a relentless quest to push the limits of artistic expression. Through his manifestos, groundbreaking works, and visionary leadership, Lucio Fontana and his fellow Spatialists redefined what art could be, opening up new dimensions and possibilities that continue to influence and inspire artists today.