Omaggio a Lucio Fontana / Homage to Lucio Fontana
In this 1988 Guggenheim catalogue from the personal library of Dore Ashton, with lots of underlines, notes and post-its in the late art historian’s usual fashion, a simple double-underscoring of the word wounded in Image 2 instantly contextualized Fontana’s entire body of work. Though his particular artistic expression was an outlier in the Interwar canons of Classical revival or Neue Sachlichkeit, its stunning simplicity was nevertheless haunting and poignant. Text in Italian and English. Slight lean to spine. Rubbing and soiling to wrappers.
In this 1988 Guggenheim catalogue from the personal library of Dore Ashton, with lots of underlines, notes and post-its in the late art historian’s usual fashion, a simple double-underscoring of the word wounded in Image 2 instantly contextualized Fontana’s entire body of work. Though his particular artistic expression was an outlier in the Interwar canons of Classical revival or Neue Sachlichkeit, its stunning simplicity was nevertheless haunting and poignant. Text in Italian and English. Slight lean to spine. Rubbing and soiling to wrappers.
In this 1988 Guggenheim catalogue from the personal library of Dore Ashton, with lots of underlines, notes and post-its in the late art historian’s usual fashion, a simple double-underscoring of the word wounded in Image 2 instantly contextualized Fontana’s entire body of work. Though his particular artistic expression was an outlier in the Interwar canons of Classical revival or Neue Sachlichkeit, its stunning simplicity was nevertheless haunting and poignant. Text in Italian and English. Slight lean to spine. Rubbing and soiling to wrappers.
