Conference Presentations by Daniela Alejandra Sbaraglia
Lucio Fontana: origini e immaginario. Anni Venti: la formazione tra Argentina e Italia
Intorno al ritratto. PROSPETTIVE STORICHE Studi e ricerche, 2019
Il saggio presenta la prima opera scultorea documentata, ma inedita, di Lucio Fontana: il Ritrat... more Il saggio presenta la prima opera scultorea documentata, ma inedita, di Lucio Fontana: il Ritratto a Louis Pasteur, datato 1924 e rinvenuto a Rosario di Santa Fè (Argentina).
Si ricostruiscono inoltre i primi anni dell'attività artistica di Fontana, trascorsi in Argentina dal 1924 al 1927, con particolare focus sulla ritrattistica e il rapporto col padre scultore e ritrattista, Luigi Fontana.
This essay will put forward the first sculptural work, but unknown, by Lucio Fontana: the portrait of Louis Pasteur, dated 1924 and found in Rosario of Santa Fè (Argentina).
Information about early artistic works, carried out in Argentina from 1924 to 1927, will be given, with a focus on Fontana's family portraiture production.
Talks by Daniela Alejandra Sbaraglia
Incontro della rassegna: Novecento. Il Catalogo è questo!, a cura di Luciano Tellaroli. Milano, C... more Incontro della rassegna: Novecento. Il Catalogo è questo!, a cura di Luciano Tellaroli. Milano, Circolo filologico milanese
Modern Art and Iconology by Daniela Alejandra Sbaraglia
a cur a dell ' istituto di studi rinascimentali di ferr ar a 42 -43 · 2012 pisa · roma fabrizio s... more a cur a dell ' istituto di studi rinascimentali di ferr ar a 42 -43 · 2012 pisa · roma fabrizio serr a editore 2013 Autorizzazione del Tribunale di Pisa n. 8/10 del 10 maggio 2010.
Contemporary Art by Daniela Alejandra Sbaraglia
L' uomo nero , 2015
La ricerca gravita intorno alla figura poco nota del padre di Lucio, lo scultore Luigi Fontana, ... more La ricerca gravita intorno alla figura poco nota del padre di Lucio, lo scultore Luigi Fontana, formatosi all'Accademia di Brera ed emigrato in Argentina a Rosario di Santa Fè, dove apre uno studio di sculture attivo nel campo della statuaria monumentale e cimiteriale e dove Lucio Fontana getterà le basi della propria formazione.
Il saggio apporta originali contributi documentari alla biografia di Lucio Fontana e alla sua prima attività in Argentina, presentando per la prima volta il progetto del Monumento a Juana Blanco per il Cimitero Monumentale di Rosario di Santa Fè e l'inedita placca dedicata a Luois Pasteur, prima opera documentata del giovane artista.
Ma Luigi Fontana è anche il tramite del ricco rapporto di interscambi artistici tra Italia e Argentina, operando da agente per alcuni importanti scultori connazionali attivi nelle colonie dell'America Latina tra gli anni Venta e Trenta del '900, come Leonardo Bistolfi.
Breve retrospettiva sulla stagione artistica rosarina dello scultore varesino Luigi Fontana, padr... more Breve retrospettiva sulla stagione artistica rosarina dello scultore varesino Luigi Fontana, padre di Lucio Fontana, artista a cavallo tra XIX e XX secolo.
Estratto dal catalogo "Entresiglos. El impulso cosmopolita en Rosario", 2017
“Luigi and Lucio Fontana Sculptors: Italian-Argentinean Confluences in the Plastic Arts of the Ea... more “Luigi and Lucio Fontana Sculptors: Italian-Argentinean Confluences in the Plastic Arts of the Early Twentieth Century” Lucio Fontana debuts as a sculptor in Rosario with the Louis Pasteur Portrait (1924). The work, with a verista-symbolic matrix, continues with Lucio’s father work, Luigi Fontana, portrait painter and funeral sculptor in Rosario.
Experimentation with portrait began in Lucio as a teenager, as witnes-
sed a drawings serie in which it emerges the paternal milieu, between the Scapigliatura and Milanese Liberty. The provenance culture also has an ideological weight: the interventionist nationalism of the Fontana family and the accession to the PNF had an influence on the young artista; World War I volunteer and militant in the mussolinian tropos. Since the 20’s of the ‘900, Lucio cooperate with the Rosario Dante Alihieri Association, involved with the promotion of the ‘italianity’ abroad, under the supervisión of the pnf. He’ll do associates portraits, Dr, Guarnieri’s (1927), ed. E. Grimaldi (1944), unpublished.
In 1925 will be part of the Italia drafting, informative organ of the association, illustrating two numbers: the woodcuts, as well as editorial contents and some contemporary plastic Works show the requests coming from artists promoted by the regime by L. Bistolfi and A. Wildt, ‘till the Novecento group. It will be the meeting with J. Vanzo which will induce the change to avant-garde languages, ascertainable in the unpublished Piovella plate.
Presentazione di un lavoro inedito di Lucio Fontana: la placca cimiteriale "Piovella", al Cimiter... more Presentazione di un lavoro inedito di Lucio Fontana: la placca cimiteriale "Piovella", al Cimitero El Salvador, Rosario di Santa Fè, Argentina
Universidad Nacional de San Martín, 2018
ResumenLucio Fontana debuta como escultor en Rosario con el Retrato a Luis Pasteur (1924). La obr... more ResumenLucio Fontana debuta como escultor en Rosario con el Retrato a Luis Pasteur (1924). La obra, de matriz verista-simbolica, se alinea y continua con la obra del padre, Luigi Fontana, retratista y escultor funerario en Rosario. La experimentacion con el retrato se inicia en Lucio desde la adolescencia, segun atestigua una serie de dibujos en los que emerge el milieu paterno, entre Scapigliatura y Liberty milaneses. La cultura de proveniencia tambien tiene un peso ideologico: el nacionalismo intervencionista de la familia Fontana y la adhesion al Partido Nacional Fascista (pnf), influyen en el joven, voluntario en la Primera Guerra Mundial y militante en las filas mussolinianas. Desde los anos veinte de 1900, Lucio colabora con la Sociedad Dante Alighieri, de Rosario, comprometida con la promocion de la italianidad en el extranjero, bajo la direccion del pnf. Realizara los retratos de los socios, el Dr. Guarnieri (1927), ed. E. Grimaldi (1944), inedito. En 1925, integrara la redaccion de Italia, organo informativo de la sociedad, ilustrando dos numeros. Las xilografias, como tambien los contenidos editoriales y algunas obras plasticas contemporaneas, muestran las solicitudes provenientes de los artistas promovidos por el regimen de L. Bistolfi y A. Wildt, hasta al grupo Novecento. Sera el encuentro con J. Vanzo que inducira el cambio hacia los lenguajes de las vanguardias, comprobable en la inedita placa Piovella.Palabras clave: Luigi Fontana, Lucio Fontana, retrato, fascismo, Sociedad Dante Alighieri. Abstract“Luigi and Lucio Fontana Sculptors: Italian-Argentinean Confluences in the Plastic Arts of the Early Twentieth Century”Lucio Fontana debuts as a sculptor in Rosario with the Louis Pasteur Portrait (1924). The work, with a verista-symbolic matrix, continues with Lucio’s father work, Luigi Fontana, portrait painter and funeral sculptor in Rosario. Experimentation with portrait began in Lucio as a teenager, as witnessed a drawings serie in which it emerges the paternal milieu, between the Scapigliatura and Milanese Liberty. The provenance culture also has an ideological weight: the interventionist nationalism of the Fontana family and the accession to the PNF had an influence on the young artista; World War I volunteer and militant in the mussolinian tropos. Since the 20’s of the ‘900, Lucio cooperate with the Rosario Dante Alihieri Association, involved with the promotion of the ‘italianity’ abroad, under the supervision of the pnf. He’ll do associates portraits, Dr, Guarnieri’s (1927), ed. E. Grimaldi (1944), unpublished. In 1925 will be part of the Italia drafting, informative organ of the association, illustrating two numbers: the woodcuts, as well as editorial contents and some contemporary plastic Works show the requests coming from artists promoted by the regime by L. Bistolfi and A. Wildt, ‘till the Novecento group. It will be the meeting with J. Vanzo which will induce the change to avant-garde languages, ascertainable in the unpublished Piovella plate.Key words: Luigi Fontana, Lucio Fontana, portrait, fascism, Dante Alighieri Association.
Valori Tattili, 2021
The 1920s represent Lucio Fontana's artistic debut, made possible thanks to an initial reflection... more The 1920s represent Lucio Fontana's artistic debut, made possible thanks to an initial reflection on his origins.
From the Portrait to Louis Pasteur (1924), a work that is in continuity with the realism practiced in his father's workshop, we move on to works such as the Via Crucis Piovella,
in which secessionist-barbarian influences emerge, in which secessionist-barbarian influences emerge, up to the derivations coming from the "Ritorno all'Ordine" movements (Monument to Juana Blanco)and Wildt's symbolist expressionism. influences that are not divorced from political influences linked to the fascist regime, to which the family is close.
The meeting with Julio Vanzo leads to enhance the suggestions coming from the European avant-gardes, with an attention to the cubo-futurist research of Archipenko and the Second Futurism.
Starting from these influences and supported by the critic Juan Zocchi, Vanzo and Fontana became promoters in Rosario of a "primitivist", who finds his manifesto in the periodical "Ahora", contributing to the spread of the languages of contemporary art in South Amer
Centro de estudios Genealogicos e Historicos de Rosario (Argentina), 2023
The work reconstructs the family tree of the artist Lucio Fontana, of which an artistic excursus ... more The work reconstructs the family tree of the artist Lucio Fontana, of which an artistic excursus is also proposed with particular reference to the years spent in Argentina or in relation to the artist's country of origin
Books by Daniela Alejandra Sbaraglia
Dizionario Lucio Fontana, 2023
Lemmi:
Altamira
Argentina
Brest Jorge Romero
Fontana Bruno
Fontana Luigi
Presta Salvador
Vanzo J... more Lemmi:
Altamira
Argentina
Brest Jorge Romero
Fontana Bruno
Fontana Luigi
Presta Salvador
Vanzo Julio
Zocchi Juan
Papers by Daniela Alejandra Sbaraglia
Valori Tattili, 2023
The figure of Adolfo Wildt has played a cardinal role for
Lucio Fontana since his debut years in ... more The figure of Adolfo Wildt has played a cardinal role for
Lucio Fontana since his debut years in Argentina. The
influence of this sculptor – classic and modern – can in
fact be felt in the young Fontana, a self-taught artist, in
the works created between 1924 and 1925, which show
a free and intuitive approach to Wildti’s poetics. Back in
Italy, at the end of 1927, Fontana attended Wildt’s courses
at Brera, with the desire to have an academic education.
With respect to this period, the essay explores the operating
methods and stimuli offered by Wildt together with
the student’s response to these solicitations. To this end,
an unpublished work by Fontana is presented as well as
the reinterpretation of some already known works, useful
for reconstructing more extensively what may have been
the strong bond between the master and the disciple.
Uploads
Conference Presentations by Daniela Alejandra Sbaraglia
Si ricostruiscono inoltre i primi anni dell'attività artistica di Fontana, trascorsi in Argentina dal 1924 al 1927, con particolare focus sulla ritrattistica e il rapporto col padre scultore e ritrattista, Luigi Fontana.
This essay will put forward the first sculptural work, but unknown, by Lucio Fontana: the portrait of Louis Pasteur, dated 1924 and found in Rosario of Santa Fè (Argentina).
Information about early artistic works, carried out in Argentina from 1924 to 1927, will be given, with a focus on Fontana's family portraiture production.
Talks by Daniela Alejandra Sbaraglia
Modern Art and Iconology by Daniela Alejandra Sbaraglia
Contemporary Art by Daniela Alejandra Sbaraglia
Il saggio apporta originali contributi documentari alla biografia di Lucio Fontana e alla sua prima attività in Argentina, presentando per la prima volta il progetto del Monumento a Juana Blanco per il Cimitero Monumentale di Rosario di Santa Fè e l'inedita placca dedicata a Luois Pasteur, prima opera documentata del giovane artista.
Ma Luigi Fontana è anche il tramite del ricco rapporto di interscambi artistici tra Italia e Argentina, operando da agente per alcuni importanti scultori connazionali attivi nelle colonie dell'America Latina tra gli anni Venta e Trenta del '900, come Leonardo Bistolfi.
Estratto dal catalogo "Entresiglos. El impulso cosmopolita en Rosario", 2017
Experimentation with portrait began in Lucio as a teenager, as witnes-
sed a drawings serie in which it emerges the paternal milieu, between the Scapigliatura and Milanese Liberty. The provenance culture also has an ideological weight: the interventionist nationalism of the Fontana family and the accession to the PNF had an influence on the young artista; World War I volunteer and militant in the mussolinian tropos. Since the 20’s of the ‘900, Lucio cooperate with the Rosario Dante Alihieri Association, involved with the promotion of the ‘italianity’ abroad, under the supervisión of the pnf. He’ll do associates portraits, Dr, Guarnieri’s (1927), ed. E. Grimaldi (1944), unpublished.
In 1925 will be part of the Italia drafting, informative organ of the association, illustrating two numbers: the woodcuts, as well as editorial contents and some contemporary plastic Works show the requests coming from artists promoted by the regime by L. Bistolfi and A. Wildt, ‘till the Novecento group. It will be the meeting with J. Vanzo which will induce the change to avant-garde languages, ascertainable in the unpublished Piovella plate.
From the Portrait to Louis Pasteur (1924), a work that is in continuity with the realism practiced in his father's workshop, we move on to works such as the Via Crucis Piovella,
in which secessionist-barbarian influences emerge, in which secessionist-barbarian influences emerge, up to the derivations coming from the "Ritorno all'Ordine" movements (Monument to Juana Blanco)and Wildt's symbolist expressionism. influences that are not divorced from political influences linked to the fascist regime, to which the family is close.
The meeting with Julio Vanzo leads to enhance the suggestions coming from the European avant-gardes, with an attention to the cubo-futurist research of Archipenko and the Second Futurism.
Starting from these influences and supported by the critic Juan Zocchi, Vanzo and Fontana became promoters in Rosario of a "primitivist", who finds his manifesto in the periodical "Ahora", contributing to the spread of the languages of contemporary art in South Amer
Books by Daniela Alejandra Sbaraglia
Altamira
Argentina
Brest Jorge Romero
Fontana Bruno
Fontana Luigi
Presta Salvador
Vanzo Julio
Zocchi Juan
Papers by Daniela Alejandra Sbaraglia
Lucio Fontana since his debut years in Argentina. The
influence of this sculptor – classic and modern – can in
fact be felt in the young Fontana, a self-taught artist, in
the works created between 1924 and 1925, which show
a free and intuitive approach to Wildti’s poetics. Back in
Italy, at the end of 1927, Fontana attended Wildt’s courses
at Brera, with the desire to have an academic education.
With respect to this period, the essay explores the operating
methods and stimuli offered by Wildt together with
the student’s response to these solicitations. To this end,
an unpublished work by Fontana is presented as well as
the reinterpretation of some already known works, useful
for reconstructing more extensively what may have been
the strong bond between the master and the disciple.
Si ricostruiscono inoltre i primi anni dell'attività artistica di Fontana, trascorsi in Argentina dal 1924 al 1927, con particolare focus sulla ritrattistica e il rapporto col padre scultore e ritrattista, Luigi Fontana.
This essay will put forward the first sculptural work, but unknown, by Lucio Fontana: the portrait of Louis Pasteur, dated 1924 and found in Rosario of Santa Fè (Argentina).
Information about early artistic works, carried out in Argentina from 1924 to 1927, will be given, with a focus on Fontana's family portraiture production.
Il saggio apporta originali contributi documentari alla biografia di Lucio Fontana e alla sua prima attività in Argentina, presentando per la prima volta il progetto del Monumento a Juana Blanco per il Cimitero Monumentale di Rosario di Santa Fè e l'inedita placca dedicata a Luois Pasteur, prima opera documentata del giovane artista.
Ma Luigi Fontana è anche il tramite del ricco rapporto di interscambi artistici tra Italia e Argentina, operando da agente per alcuni importanti scultori connazionali attivi nelle colonie dell'America Latina tra gli anni Venta e Trenta del '900, come Leonardo Bistolfi.
Estratto dal catalogo "Entresiglos. El impulso cosmopolita en Rosario", 2017
Experimentation with portrait began in Lucio as a teenager, as witnes-
sed a drawings serie in which it emerges the paternal milieu, between the Scapigliatura and Milanese Liberty. The provenance culture also has an ideological weight: the interventionist nationalism of the Fontana family and the accession to the PNF had an influence on the young artista; World War I volunteer and militant in the mussolinian tropos. Since the 20’s of the ‘900, Lucio cooperate with the Rosario Dante Alihieri Association, involved with the promotion of the ‘italianity’ abroad, under the supervisión of the pnf. He’ll do associates portraits, Dr, Guarnieri’s (1927), ed. E. Grimaldi (1944), unpublished.
In 1925 will be part of the Italia drafting, informative organ of the association, illustrating two numbers: the woodcuts, as well as editorial contents and some contemporary plastic Works show the requests coming from artists promoted by the regime by L. Bistolfi and A. Wildt, ‘till the Novecento group. It will be the meeting with J. Vanzo which will induce the change to avant-garde languages, ascertainable in the unpublished Piovella plate.
From the Portrait to Louis Pasteur (1924), a work that is in continuity with the realism practiced in his father's workshop, we move on to works such as the Via Crucis Piovella,
in which secessionist-barbarian influences emerge, in which secessionist-barbarian influences emerge, up to the derivations coming from the "Ritorno all'Ordine" movements (Monument to Juana Blanco)and Wildt's symbolist expressionism. influences that are not divorced from political influences linked to the fascist regime, to which the family is close.
The meeting with Julio Vanzo leads to enhance the suggestions coming from the European avant-gardes, with an attention to the cubo-futurist research of Archipenko and the Second Futurism.
Starting from these influences and supported by the critic Juan Zocchi, Vanzo and Fontana became promoters in Rosario of a "primitivist", who finds his manifesto in the periodical "Ahora", contributing to the spread of the languages of contemporary art in South Amer
Altamira
Argentina
Brest Jorge Romero
Fontana Bruno
Fontana Luigi
Presta Salvador
Vanzo Julio
Zocchi Juan
Lucio Fontana since his debut years in Argentina. The
influence of this sculptor – classic and modern – can in
fact be felt in the young Fontana, a self-taught artist, in
the works created between 1924 and 1925, which show
a free and intuitive approach to Wildti’s poetics. Back in
Italy, at the end of 1927, Fontana attended Wildt’s courses
at Brera, with the desire to have an academic education.
With respect to this period, the essay explores the operating
methods and stimuli offered by Wildt together with
the student’s response to these solicitations. To this end,
an unpublished work by Fontana is presented as well as
the reinterpretation of some already known works, useful
for reconstructing more extensively what may have been
the strong bond between the master and the disciple.