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Spatialism – The History

In 1946, the brilliant Argentinean sculptor and painter Lucio Fontana (1899-1968) devised an innovative art style known as Spatialism or Movimento Spaziale. This art movement was a contemporary of the Abstract Expressionism movement originating in the United States. The philosophical underpinnings of Spatialism were conveyed through a manifesto entitled ‘Manifesto Blanco,’ which explored the necessity for a unique ‘spatial’ form of art to capture the essence of the post-war era.

The Correleations

Three art movements – Dadaism, Tachism, and Concrete Art – exerted a formative influence on Spatialism. Dadaism deliberately disregarded the ‘aesthetic’ conventions of Fine Arts to create revolutionary compositions. Tachism was often considered the French variant of Abstract Expressionism. The 1930s Concrete Art movement focused on the interplay of colors and lines in representation. While the underlying concepts behind Spatialism and Abstract Expressionism were similar, Spatialism departed from the prevalent use of paint and easel media as artistic tools. Instead, it emphasized the ‘moment,’ which was depicted as a function of time and action.

The Details

Spatialism amalgamated sound, color, space, movement, and time within its frames. In a sense, Spatialism brought together the fundamental principles of science and Fine Arts, utilizing tools such as television and Neon lighting, among others. According to ‘Manifesto Blanco,’ Spatialism aimed to “transcend the boundaries of the canvas or the volume of the sculpture, assuming additional dimensions and becoming an integral part of architecture, extending into the surrounding space and incorporating new scientific and technological discoveries.” Another distinctive feature of Lucio Fontana’s works was the presence of holes or ‘slashes’ of varying sizes and angles across the canvas. Notable examples of this technique include ‘Concept Spatiale’ from 1959 and ‘Concetto Spaziale’ from 1964. Fontana’s artworks created using this technique were collectively known as the slash series.

The Artists and the Artworks

Spatialism eventually shifted its focus towards the negative aspects in the representation of its subjects. Subsequent manifestos dismissed the principles of expression, artificial emotions, and color schemes in favor of the exploration of geometrical space and capturing the ‘real’ as it exists. Fontana’s 1947 masterpiece, ‘Black Spatial Environment,’ exemplifies this theory, consisting of a room painted entirely black. Another work from 1949, titled ‘Spatial Environment,’ featured an array of Neon lights. Among the most renowned artists associated with Spatialism were Roberto Crippa (1921-72), Cesare Peverelli (1922-2000), Gianni Dova (1925-91), and Enrico Donati (1909-2008). Fontana’s groundbreaking style not only carved a niche for himself but also exerted a profound influence on numerous artists and art forms.

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Ihab Salloum