Lucas Cranach the Elder
Lucas Cranach the Elder was a German Renaissance painter and printmaker in woodcut and engraving. He painted religious subjects, first in the Catholic tradition and he continued throughout his career to paint nude subjects drawn from mythology and religion. He had a workshop and many works exist in different versions, his son Lucas Cranach the Younger. Lucas Cranach the Elder has been considered the most successful German artist of his time and he was born at Kronach in upper Franconia, probably in 1472. His exact date of birth is unknown and he learned the art of drawing from his father Hans Maler. His mother, with surname Hübner, died in 1491, the name of his birthplace was used for his surname, another custom of the times. How Cranach was trained is not known, but it was probably with local south German masters, as with his contemporary Matthias Grünewald, there are suggestions that Cranach spent some time in Vienna around 1500. According to Gunderam Cranach demonstrated his talents as a painter before the close of the 15th century and his work drew the attention of Duke Friedrich III, Elector of Saxony, known as Frederick the Wise, who attached Cranach to his court in 1504.
Cranach was to remain in the service of the Elector and his successors for the rest of his life, Cranach married Barbara Brengbier, the daughter of a burgher of Gotha and born there, she died at Wittenberg on 26 December 1540. Cranach owned a house at Gotha, but most likely he got to know Barbara near Wittenberg, where her family owned a house. The first evidence of Cranachs skill as an artist comes in a picture dated 1504, in 1509 Cranach went to the Netherlands, and painted the Emperor Maximilian and the boy who afterwards became Emperor Charles V. Until 1508 Cranach signed his works with his initials, in that year the elector gave him the winged snake as an emblem, or Kleinod, which superseded the initials on his pictures after that date. Cranach was the painter to the electors of Saxony in Wittenberg. His patrons were powerful supporters of Martin Luther, and Cranach used his art as a symbol of the new faith, Cranach made numerous portraits of Luther, and provided woodcut illustrations for Luthers German translation of the Bible.
Somewhat the duke conferred on him the monopoly of the sale of medicines at Wittenberg, Cranachs presses were used by Martin Luther. His apothecary shop was open for centuries, and was only lost by fire in 1871, like his patron, was friendly with the Protestant Reformers at a very early stage, yet it is difficult to fix the time of his first meeting with Martin Luther. The oldest reference to Cranach in Luthers correspondence dates from 1520, in a letter written from Worms in 1521, Luther calls him his gossip, warmly alluding to his Gevatterin, the artists wife. He was godfather to their first child, Johannes Hans Luther, in 1530 Luther lived at the citadel of Veste Coburg under the protection of the Duke of Saxe-Coburg and his room is preserved there along with a painting of him
Fritz Wotruba was an Austrian sculptor of Czecho-Hungarian descent. He was considered one of the most notable sculptors of the 20th century in Austria, in his work, he increasingly dissolves figurative components in favor of geometrical abstraction with the shape of the cube as the basic form. Fritz Wotruba was born in 1907 as the youngest of eight children of Adolf Wotruba and Maria Wotruba, née Kocsi and his eldest brother was imprisoned for armed robbery and murder, and died in prison at Stein on the Danube. From 1921 to 1925, he was trained as an engraver, as an apprentice in the engraving, from February to summer 1926, he attended the arts and trades school of the Austrian Museum of Art and Industry and open evening courses on nude drawing. In fall 1926, he enrolled in studies in sculpting at the arts, in 1933, he had a studio under the Stadtbahn, or Metro Rail Tracks. Canetti. it consisted of two big vaults supporting the Stadtbahn trestle, in one stood figures that would have got in his way while he was working in the other, when the weather wasnt too bad, he liked best to work in the open.
Probably his greatest work, on which he worked until his death, was the planning of the Church of the Holy Trinity in Mauer, Vienna and he did not live to see the completion of the church in 1976. Many of his statues can be seen in parks in Vienna. The Lying Adolescent is located in an exhibition in the Albertina and he escaped to Switzerland upon Hitlers ascent to power. A number of his sculptures were either lost or destroyed during the Second World War, in 1947, Wotruba was awarded the City of Vienna Prize for Visual Arts and in 1955, he received the Grand Austrian State Prize for Visual Arts. He is buried on the Zentralfriedhof in Vienna, Fritz Wotruba Society Fritz Wotruba in aeiou Encyclopedia
Odilon Redon was a French symbolist painter, printmaker and pastellist. Odilon Redon was born in Bordeaux, Aquitaine, to a prosperous family, the young Bertrand-Jean Redon acquired the nickname Odilon from his mother, Odile. Redon started drawing as a child, and, at the age of ten and he began the formal study of drawing at fifteen, but, at his fathers insistence, he changed to architecture. Failure to pass the exams at Paris’ École des Beaux-Arts ended any plans for a career as an architect. Back in his native Bordeaux, he took up sculpting, and Rodolphe Bresdin instructed him in etching and his artistic career was interrupted in 1870 when he was drafted to serve in the army in the Franco-Prussian War until its end in 1871. At the end of the war, he moved to Paris and resumed working almost exclusively in charcoal and he called his visionary works, conceived in shades of black, his noirs. It was not until 1878 that his work gained any recognition with Guardian Spirit of the Waters, he published his first album of lithographs, titled Dans le Rêve, in 1879.
Still, Redon remained relatively unknown until the appearance in 1884 of a novel by Joris-Karl Huysmans titled À rebours. The story featured a decadent aristocrat who collected Redons drawings, in the 1890s pastel and oils became his favored media, he produced no more noirs after 1900. In 1899, he exhibited with the Nabis at Durand-Ruels, Redon had a keen interest in Hindu and Buddhist religion and culture. The figure of the Buddha increasingly showed in his work, baron Robert de Domecy commissioned the artist in 1899 to create 17 decorative panels for the dining room of the Château de Domecy-sur-le-Vault near Sermizelles in Burgundy. The landscape details do not show a place or space. Only details of trees, twigs with leaves, and budding flowers in an endless horizon can be seen, the colours used are mostly yellow, grey and light blue. The influence of the Japanese painting style found on folding screens byōbu is discernible in his choice of colours, fifteen of them are located today in the Musée dOrsay, acquisitioned in 1988.
Domecy commissioned Redon to paint portraits of his wife and their daughter Jeanne, most of the paintings remained in the Domecy family collection until the 1960s. In 1903 Redon was awarded the Legion of Honor, Redon died on July 6,1916. In 1923 Mellerio published Odilon Redon, Peintre Dessinateur et Graveur, an archive of Mellerios papers is held by the Ryerson & Burnham Libraries at the Art Institute of Chicago. The exhibition ran from October 30,2005 to January 23,2006, the Fondation Beyeler in Basel, Switzerland showed a retrospective from February to May 2014
The Potato Eaters
The Potato Eaters is an oil painting by Dutch artist Vincent van Gogh painted in April 1885 in Nuenen, Netherlands. It is in the Van Gogh Museum in Amsterdam and he worked on the painting from April 13 until the beginning of May, when it was mostly done except for minor changes which he made with a small brush the same year. Van Gogh said he wanted to depict peasants as they really were, I wanted it to give the idea of a wholly different way of life from ours — civilized people. So I certainly don’t want everyone just to admire it or approve of it without knowing why, the work was criticized by his friend Anthon van Rappard soon after it was painted. Van Gogh made a lithograph of the composition The Potato Eaters before embarking on the painting proper and he sent impressions to his brother, and in a letter to a friend, wrote that he made the lithograph from memory in the space of a day. Van Gogh had first experimented with lithography in The Hague in 1882, though he appreciated small scale graphic work and was an enthusiastic collector of English engravings he worked relatively little in graphic mediums.
No, in most cases the solidity and pith of the small is only obtained through much more study than is imagined by those who think lightly of the task of illustrating. Anyway, some paintings in their huge frames look very substantial, and from what you said about ‘Impressionism’, I’ve grasped that it’s something different from what I thought it was, but it’s still not entirely clear to me what one should understand by it. But for my part, I find so much in Israëls, for instance. Compositionally the two are similar, in both paintings the composition of the painting is centered by a figure whose back is turned to us. Thieves stole the early version of The Potato Eaters, the Weavers Interior, in April,1989, the thieves returned Weavers Interior in an attempt to gain a $2.5 million ransom. The police recovered the two on July 14,1989, no ransom was paid. On April 14,1991, the Vincent van Gogh National Museum was robbed of twenty major paintings including the version of The Potato Eaters. For unknown reasons, the abandoned the art 35 minutes after the robbery.
ISBN 1-86046-859-4 De La Faille, Jacob Baart, the works of Vincent van Gogh. The Complete Van Gogh, Drawings, new York, NY, Harrison House/Harry N. Abrams Distributed by Crown Publishers, Random House. Naifeh and Smith, Gregory White
Mark di Suvero
Marco Polo Mark di Suvero is an abstract expressionist sculptor and 2010 National Medal of Arts recipient. Marco Polo di Suvero was born on September 18,1933 in Shanghai, China, to Matilde Millo di Suvero, di Suvero was one of four children, the eldest being Victor di Suvero. His father was a naval attaché for the Italian government and the family resided in Shanghai until his father was relocated to Tientsin shortly after the birth of the familys last son in 1936. With the outbreak of World War II, di Suvero immigrated to San Francisco, di Suvero attended San Francisco City College from 1953 to 1954 followed by the University of California, Santa Barbara from 1954 to 1955. He began creating sculptures while at UC Santa Barbara after reflecting that he couldnt make a contribution in his philosophy major. Under the guidance of Robert Thomas, who allowed di Suvero to take his sculpting course and he transferred to the University of California and graduated with a B. A. in philosophy in 1957. After graduating from college, di Suvero moved to New York City in 1957 to pursue an art career.
He worked part-time in construction and began to incorporate wood and metal from demolition sites into his work, shortly before his first solo exhibition at Green Gallery, di Suvero was involved in a near-fatal elevator accident on March 26,1960, while working at a construction site. He suffered a back and severe spinal injures, doctors believed he wouldnt be able to walk again. While in rehabilitation, he learned to work with an arc welder which became critical for pieces and he made a recovery in four years and could walk without assistance by 1965. He is one of the sixteen artists included in the book Chronicles of Courage, Very Special Artists as a result of this accident and the subsequent effect it had upon his health. Di Suvero was a member of the Park Place Gallery in 1963 with Forrest Myers, Leo Valledor, Peter Forakis, among others. Di Suvero protested the Vietnam War, for which he was twice arrested and his French barge, Rêve de signes, has since been turned into La Vie des Formes, an atelier for emerging artists, which has been moored at Montceau-les-Mines since 2009.
He returned to the United States and opened a studio in Petaluma, while the Petaluma studio is still active, di Suvero moved to New York City and opened a studio there. He founded the Athena Foundation in 1977 and Socrates Sculpture Park in 1986 and his early works were large outdoor pieces that incorporated wooden timbers from demolition buildings, scrap metal and structural steel. This exploration has transformed over time into a focus on H-beams, many of the pieces contain sections that are allowed to swing and rotate giving the overall forms a considerable degree of motion. He prides himself on his approach to the fabrication and installation of his work. Di Suvero pioneered the use of a crane as a working tool
Hoge Veluwe National Park
Nationaal Park De Hoge Veluwe is a Dutch national park in the province of Gelderland near the cities of Ede, Wageningen and Apeldoorn. It is approximately 55 square kilometers in area, consisting of heathlands, sand dunes and it is situated in the Veluwe, the area of the largest terminal moraine in the Netherlands. Most of the landscape of the park and the Veluwe was created during the last Ice Age, the alternating sand dune areas and heathlands may have been caused by human utilization of the surrounding lands. The park forms one of the largest continuous nature reserves in the Netherlands, the park was established by the businessman Anton Kröller and his wife Helene Kröller-Müller as an private estate in 1909. Up until 1923 the park was under construction with wildlife being imported, the hunting residence is called St. Hubertus Hunting Lodge after St. Hubertus and was designed by prominent Dutch architect Hendrik Petrus Berlage. Helene Kröller-Müller was an art collector and work had begun on a museum inside the park, due to worsening economic conditions the building of the museum was halted and the couple found themselves unable to keep the estate.
In 1935 the art collection was donated to the State of the Netherlands, the park was handed over to a foundation, which received a loan from the State. At that time the estate became the national park in the Netherlands. The park is one of the two private owned national parks in the Netherlands, but the only one that asks an entrance fee. The park is surrounded by fences and these, combined with the required entrance fee, led to years of protests by cyclists and hikers who were forced either to pay the fee or else to follow lengthy detours. In 2007 a solution was reached by charging reduced fees for cyclists who spend only an amount of time within the confines of the park. There are three entrances, located at the villages of Otterlo and Schaarsbergen, there are several notable buildings inside the park. A second museum, can be found at the visitor centre. Finally there is the aforementioned hunting residence which was designed by Hendrik Petrus Berlage, a bicycle sharing system in the park makes bicycles available for free to visitors, with much of the area being inaccessible by car.
Hoge Veluwe. nl Pictures of Hoge Veluwe
Claes Oldenburg is an American sculptor, best known for his public art installations typically featuring large replicas of everyday objects. Another theme in his work is soft sculpture versions of everyday objects, many of his works were made in collaboration with his wife, Coosje van Bruggen. Van Bruggen died in 2009 after 32 years of marriage, Oldenburg lives and works in New York. Claes Oldenburg was born on January 28,1929 in Stockholm and his father was a Swedish diplomat stationed in New York and in 1936 was appointed Consul General of Sweden to Chicago where Oldenburg grew up, attending the Latin School of Chicago. He studied literature and art history at Yale University from 1946 to 1950, while further developing his craft, he worked as a reporter at the City News Bureau of Chicago. He opened his own studio and, in 1953, became a citizen of the United States. In 1956, he moved to New York, working part-time in the library of the Cooper Union Museum for the Arts of Decoration. Oldenburgs first recorded sales of artworks were at the 57th Street Art Fair in Chicago and he moved back to New York City in 1956.
Oldenburg began toying with the idea of sculpture in 1957. Oldenburgs first show that included works, in May 1959, was at the Judson Gallery. During this time, artist Robert Beauchamp described Oldenburg as brilliant, in the 1960s Oldenburg became associated with the Pop Art movement and created many so-called happenings, which were performance art related productions of that time. The name he gave to his own productions was Ray Gun Theater and his first wife Patty Mucha, who sewed many of his early soft sculptures, was a constant performer in his happenings. This brash, often humorous, approach to art was at odds with the prevailing sensibility that, by its nature. But Oldenburgs spirited art found first a niche a great popularity that endures to this day, Oldenburg moved to Los Angeles in 1963 because it was the most opposite thing to New York could think of. That same year, he conceived AUT OBO DYS, performed in the lot of the American Institute of Aeronautics and Astronautics in December 1963.
In 1965 he turned his attention to drawings and projects for imaginary outdoor monuments, in 1969, Oldenberg contributed a drawing to the Moon Museum. Many of Oldenburgs large-scale sculptures of mundane objects elicited ridicule before being accepted, for example, the 1969 Lipstick on Caterpillar Tracks, was removed from its original place in Beinecke Plaza at Yale University, and circulated on a loan basis to other campuses. With its bright color, contemporary form and material and its subject, it attacked the sterility
Modern art includes artistic work produced during the period extending roughly from the 1860s to the 1970s, and denotes the style and philosophy of the art produced during that era. The term is associated with art in which the traditions of the past have been thrown aside in a spirit of experimentation. Modern artists experimented with new ways of seeing and with ideas about the nature of materials. A tendency away from the narrative, which was characteristic for the traditional arts, more recent artistic production is often called contemporary art or postmodern art. Matisses two versions of The Dance signified a key point in his career and in the development of modern painting, analytic cubism was jointly developed by Picasso and Georges Braque, exemplified by Violin and Candlestick, from about 1908 through 1912. Synthetic cubism is characterized by the introduction of different textures, collage elements, papier collé, the notion of modern art is closely related to modernism. Although modern sculpture and architecture are reckoned to have emerged at the end of the 19th century, the beginnings of modern painting can be located earlier.
The date perhaps most commonly identified as marking the birth of art is 1863. Earlier dates have proposed, among them 1855 and 1784. In the words of art historian H, harvard Arnason, Each of these dates has significance for the development of modern art, but none categorically marks a completely new beginning. A gradual metamorphosis took place in the course of a hundred years, the strands of thought that eventually led to modern art can be traced back to the Enlightenment, and even to the 17th century. The important modern art critic Clement Greenberg, for instance, called Immanuel Kant the first real Modernist but drew a distinction, The Enlightenment criticized from the outside. The French Revolution of 1789 uprooted assumptions and institutions that had for centuries been accepted with little question and this gave rise to what art historian Ernst Gombrich called a self-consciousness that made people select the style of their building as one selects the pattern of a wallpaper. The pioneers of art were Romantics and Impressionists.
By the late 19th century, additional movements which were to be influential in art had begun to emerge. The advocates of realism stood against the idealism of the academic art that enjoyed public. The most successful painters of the day worked either through commissions or through public exhibitions of their own work. There were official, government-sponsored painters unions, while governments regularly held exhibitions of new fine
Van Gogh Museum
The Van Gogh Museum is an art museum dedicated to the works of Vincent van Gogh and his contemporaries in Amsterdam in the Netherlands. It is located at the Museum Square in the borough Amsterdam South, close to the Stedelijk Museum, the Rijksmuseum, the museum opened on 2 June 1973. It is located in buildings designed by Gerrit Rietveld and Kisho Kurokawa, the museums collection is the largest collection of Van Goghs paintings and drawings in the world. In 2015, the museum had 1.9 million visitors, and was the 2nd most visited museum in the Netherlands, upon Vincent van Goghs death in 1890, his work not sold fell into the possession of his brother Theo. Theo died six months after Vincent, leaving the work in the possession of his widow, selling many of Vincents paintings with the ambition of spreading knowledge of his artwork, Johanna maintained a private collection of his works. Design for a Van Gogh Museum was commissioned by the Dutch government in 1963 to Dutch architect, Rietveld died a year later, and the building was not completed until 1973, when the museum opened its doors.
In 1998 and 1999, the building was renovated by the Dutch architect Martien van Goor, starting in late 2012, the museum was closed for renovations for six months. During this period,75 works from the collection were shown in the Hermitage Amsterdam, on 9 September 2013, the museum unveiled a long-lost Van Gogh painting that spent years in a Norwegian attic believed to be by another painter. It is the first full-size canvas by him discovered since 1928, sunset at Montmajour depicts trees and sky, painted with Van Goghs familiar thick brush strokes. It can be dated to the day it was painted because he described it in a letter to his brother, Theo. In 1991, twenty paintings were stolen from the museum, among them Van Goghs early painting The Potato Eaters, although the thieves escaped from the building,35 minutes all stolen paintings were recovered from an abandoned car. Three paintings – Wheatfield with Crows, Still Life with Bible, four men, including two museum guards, were convicted for the theft and given six or seven-year sentences.
It is considered to be the largest art theft in the Netherlands since the Second World War, in 2002, two paintings were stolen from the museum, Congregation Leaving the Reformed Church in Nuenen and View of the Sea at Scheveningen. Two Dutchmen were convicted for the theft to four-and-a-half-year sentences, the museum offered a reward of €100,000 for information leading to the recovery of the paintings. The FBI Art Crime Team listed the robbery on their Top Ten Art Crimes list, in September 2016, both paintings were discovered by the Guardia di Finanza in Naples, Italy. The two artworks were found in a good state, according to the Van Gogh Museum. The museum is situated at the Museumplein in Amsterdam-Zuid, on the Paulus Potterstraat 7, the museum consists of two buildings, the Rietveld building, designed by Gerrit Rietveld, and the Kurokawa wing, designed by Kisho Kurokawa. The museum offices are housed on Stadhouderskade 55 in Amsterdam-Zuid, the Rietveld building is the main structure of the museum and exhibits the permanent collection
Georges-Pierre Seurat was a French post-Impressionist painter and draftsman. He is noted for his use of drawing media and for devising the painting techniques known as chromoluminarism and pointillism. His large-scale work, A Sunday Afternoon on the Island of La Grande Jatte, altered the direction of art by initiating Neo-impressionism. Seurat was born 2 December 1859 in Paris, at 60 rue de Bondy, the Seurat family moved to 136 boulevard de Magenta in 1862 or 1863. His father, Antoine Chrysostome Seurat, originally from Champagne, was a legal official who had become wealthy from speculating in property. Georges had a brother, Émile Augustin, and a sister, Marie-Berthe and his father lived in Le Raincy and visited his wife and children once a week at boulevard de Magenta. Georges Seurat first studied art at the École Municipale de Sculpture et Dessin, near his familys home in the boulevard Magenta, Seurats studies resulted in a well-considered and fertile theory of contrasts, a theory to which all his work was thereafter subjected.
His formal artistic education came to an end in November 1879, after a year at the Brest Military Academy, he returned to Paris where he shared a studio with his friend Aman-Jean, while renting a small apartment at 16 rue de Chabrol. For the next two years, he worked at mastering the art of monochrome drawing and his first exhibited work, shown at the Salon, of 1883, was a Conté crayon drawing of Aman-Jean. He studied the works of Eugène Delacroix carefully, making notes on his use of color and he spent 1883 working on his first major painting—a large canvas titled Bathers at Asnières, a monumental work showing young men relaxing by the Seine in a working-class suburb of Paris. Seurat departed from the Impressionist ideal by preparing for the work with a number of drawings, Bathers at Asnières was rejected by the Paris Salon, and instead he showed it at the Groupe des Artistes Indépendants in May 1884. Seurats new ideas on pointillism were to have a strong influence on Signac. In the summer of 1884, Seurat began work on A Sunday Afternoon on the Island of La Grande Jatte, the painting shows members of each of the social classes participating in various park activities.
The tiny juxtaposed dots of multi-colored paint allow the eye to blend colors optically. It took Seurat two years to complete this 10-foot-wide painting, much of which he spent in the park sketching in preparation for the work and it is now in the permanent collection of the Art Institute of Chicago. The painting was the inspiration for James Lapine and Stephen Sondheims musical, Seurat concealed his relationship with Madeleine Knobloch, an artists model whom he portrayed in his painting Jeune femme se poudrant. In 1889 she moved in with Seurat in his studio on the 7th floor of 128bis Boulevard de Clichy, when Madeleine became pregnant, the couple moved to a studio at 39 passage de lÉlysée-des-Beaux-Arts. There she gave birth to their son, who was named Pierre-Georges,16 February 1890, Seurat died in Paris in his parents home on 29 March 1891 at the age of 31
Lucio Fontana was an Italio-Argentine painter and theorist of Argentine birth. He was mostly known as the founder of Spatialism and his ties to Arte Povera, born in Rosario, province of Santa Fe, Argentina to Italian immigrant parents, he was the son of the sculptor Luigi Fontana. Fontana spent the first years of his life in Italy and came back to Argentina in 1905, where he stayed until 1922, working as a sculptor along with his father, and on his own. Already in 1926, he participated in the first exhibition of Nexus, in 1927 Fontana returned to Italy and studied under the sculptor Adolfo Wildt, at Accademia di Brera from 1928 to 1930. It was there where he presented his first exhibition in 1930, during the following decade he journeyed Italy and France, working with abstract and expressionist painters. In 1935 he joined the association Abstraction-Création in Paris and from 1936 to 1949 made expressionnist sculptures in ceramic, in 1939, he joined the Corrente, a Milan group of expressionist artists.
In 1940 he returned to Argentina, upon his return from Argentina in 1947, he supported, along with writers and philosophers, the first manifesto of spatialism **. Fontana had found his studio and works completely destroyed in the Allied bombings of Milan, in Milan, he collaborated with noted Milanese architects to decorate several new buildings that were part of the effort to reconstruct the city after the war. From 1949 on he started the so-called Spatial Concept or slash series, consisting in holes or slashes on the surface of monochrome paintings and he devised the generic title Concetto spaziale for these works and used it for almost all his paintings. These can be divided into categories, the Buchi, beginning in 1949, and the Tagli. Fontana often lined the reverse of his canvases with black gauze so that the darkness would shimmer behind the open cuts and create a sense of illusion. He created an elaborate neon ceiling called Luce spaziale in 1951 for the Triennale in Milan, in his important series of Concetto spaziale, La Fine di Dio, Fontana uses the egg shape.
With his Pietre series, begun in 1952, Fontana fused the sculptural with painting by encrusting the surfaces of his canvases with heavy impasto and colored glass. In his Buchi cycle, begun in 1949-50, he punctured the surface of his canvases, from 1958 he purified his paintings by creating matte, monochrome surfaces, thus focusing the viewer’s attention on the slices that rend the skin of the canvas. He manipulated the paint with his fingers and various instruments to make furrows, Fontana was subsequently invited by Michel Tapié to exhibit the works at the Martha Jackson Gallery in New York. As a consequence of his first visit to New York in 1961, he created a series of metal works and these concerns were prominent at the 1966 Venice Biennale, for which he designed the environment for his work. At Documenta IV in Kassel in 1968, he positioned a large, plaster slash as the centre of a totally white labyrinth, including ceiling, shortly before his death he was present at the Destruction Art, Destroy to Create demonstration at the Finch College Museum of New York.
Then he left his home in Milano and went to Comabbio, his familys mother town, Fontana created a prolific amount of graphic work with abstract motifs as well as figures, little-known in the art world, at the same time as he was producing his abstract perforated works