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Frescoes
Transferred
To Canvas

In her article on the drawings of Lucio Fontana (1), Fannette Roche-Pezard prefaces her profound analysis with a reference to an image, that of the “main volante”. It is probable that Fontana drew
without supporting his wrist or forearm: only in this way can one explain the lightness of line, the speed and yet incisiveness in defining the image, as well as the high energy content of his spatial designs.READ MORE

View of the artist’s studio. A finished fresco is visible in the centre, while on the right is a work in progress.
The artist paints directly onto the wall, subsequently lifting off the image onto a canvas support.
Here it is elaborated using metal oxides and iron sheet using the procedure which has produced the works of the last few years.