Until July 28, Galleria Borghese hosts "Lucio Fontana Terra e oro", the exhibiotion dedicated to two specific productions of Lucio Fontana, that of ceramics and that of paintings, selected respectively in the theme of the Crucifixions and of gold.
Fontana is the first Italian artist of the twentieth century whose works, about 50 made mostly between 1958 and 1968, are exhibited in the Museum in a path that involves two rooms in the sculpture floor and six rooms in the gallery of paintings. A fertile dialogue between ancient, modern and contemporary with the works present in the Gallery, after the exhibitions already dedicated to Bacon, Giacometti and Picasso.
This is why the art of Lucio Fontana, the greatest innovator of space in modern art, can be compared with works such as “Amor sacro e amor profano" by Titian, "Deposizione" by Raphael, "La Madonna dei Palafrenieri" by Caravaggio, "Ritratto di un uomo" by Antonello da Messina, "Melissa" by Dosso Dossi or the sculptures by Gian Lorenzo Bernini, without disfiguring, but rather deepening and enriching the understanding of key concepts such as those of collection and space.
The aesthetic evolution between Baroque and Neoclassicism brings new inspiration to the perception of the space of the Museum that can now be renewed and reconfigured through the ways of statuary, of painted surfaces and of the extension of taste in collecting art.
With Fontana at the Galleria Borghese, extraordinary example of Baroque art, space, the supreme problem of figurative art from its origins, is expressed in all its potential, in the most innovative and disruptive way, because Fontana does not only represent space, he creates it .
"The cut, the hole, are not the destruction of the painting, something I have always been accused of, but an informal gesture to create a dimension beyond the painting, beyond the canvas, a gesture of freedom in conceiving art through any means and any form ». (Lucio Fontana)
It is a brand new philosophical and physical conception of space that from figment of representation, codified and ideal space, as it was along the history of art, becomes, in Fontana's hands, a new space and a concrete space of reality.
In an osmotic relationship with modernity and the contemporary, the ideal space of the artwork is no longer opposed to the physical space in which we live and interact, but liquefies and merges with it through the cracks on the canvases.
Fontana's gold paintings are the maximum exaltation of this new spatial dimension in a context like the Borghese Gallery where gold, the greatest anti-naturalistic abstraction, penetrates the whole space.
To better emphasize the disruptive aesthetic and conceptual revolution accomplished by the artist with the 'holes' and 'cuts', Fontana's gold works are flanked by his ceramics production, a series of Crocifissioni (Crucifixions), all still strongly pervaded by Baroque light and still tied to the spatial idea of "representation".
dal 21 maggio al 28 luglio 2019 - prorogata al 25 agosto 2019
Martedì-domenica ore 9.00 - 19.00 con accesso ogni due ore (9.00; 11.00; 13.00; 15.00; 17.00)
Ultimo ingresso alle ore 17.00
Chiusa al pubblico l’ultimo turno di visita, dalle 17.00 alle 19.00, del giorno 21 maggio.