Lucio Fontana, Ritratto di Vrania G.; Crocifisso

Photogallery

Lucio Fontana, Ritratto di Vrania G.; Crocifisso
Lucio Fontana, Ritratto di Vrania G.; Crocifisso
Lucio Fontana, Ritratto di Vrania G.; Crocifisso
Lucio Fontana, Ritratto di Vrania G.; Crocifisso
Room 24. The post-Second World War period in Italy

From the same period as his first “cuts”, the two sculptures Portrait of Vrania G., 1949, and Christ Crucified, 1951, offer a glimpse of a less well-known aspect of Fontana’s work, his passion for modelling in ceramics, to which he began to turn his attention in the 1930s, when he was among the key figures of the research in abstraction taking place in Milan.
It was during those years that Fontana entered into contact with the Mazzotti di Albisola Marina and the Sèvres factories, where he experimented with techniques for large furnace ceramics. The importance of this activity was confirmed by the personal exhibitions entirely devoted to ceramics held in Paris and Milan in this period.
The two works, which entered the Collection in 1973 at the time of its inauguration, demonstrate his extraordinary mastery of this technique, especially in relation to the “spatial” research he was engaged in at the same time, leading him to devise original solutions and opening up new paths in post-war art.