Camuffo Collection, Venice

Paris, Galerie Nathalie Séroussi, 60s, 2005, illustrated

Enrico Crispolti, Lucio Fontana, Catalogue Raisonné, Vol. II, Brussels 1974, pp. 172-173, no. 65 TE 56, illustrated
Enrico Crispolti, Lucio Fontana, Catalogo Generale, Vol. II, Milan 1986, p. 603, no. 65 TE 56, illustrated
Enrico Crispolti, Lucio Fontana, Catalogo Ragionato di Sculture, Dipinti, Ambientazioni, Vol. II, Milan 2006, p. 792, no. 65 TE 56, illustrated

Colour: The colours in the catalogue illustration are fairly accurate. It fails to fully convey the three-dimensionality of the work. Condition: This work is in very good condition. There are a number of minute scattered chips to the hidden inner lower edge of the cream frame. There is a very faint crease to the canvas running horizontally across the higher passage of holes in the upper left quadrant of the composition. There is some very light wear to the bottom left and right extreme corner tips. A minute nick can be noticed to the right extreme overturn edge, approximately 10cm. above the bottom right extreme corner tip. All of these are visible upon very close inspection only. No restoration is apparent when examined under ultra-violet light.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

The Teatrini series are the last Concetti Spaziali created by Fontana between 1964 and 1966. At once figurative and narrative, these works are in a way unusual in Fontana's abstract approach to the surface and investigate the possibility of merging figure and space and engaging them in an artistic dialogue. The monochrome sky is opened up by the artist's signature holes, while the frame transforms the flat pictorial surface into a three-dimensional stage upon which the central character is expected to appear at any minute, and we the viewer are drawn into this space of expectation and in-between.

As Enrico Crispolti pointed out: "These Teatrini  represent the further, extremely original and by no means marginal reply of Fontana to artistic problems which arise in connection with the appeal of 'pop art' and with a very personal cachet the qualitative level of the highest peaks of Fontana's creation strikes an insistent note. The neatness of the lacquered frames, the clean quality of the skyscapes, indicate a will towards objectified figuration, a sort of spatial spectacle which Fontana presents with an almost classical composure of imagination." (Enrico Crispolti, Lucio Fontana, Catalogue Raisonné, Vol. I, Brussels 1974, p. 139)