Lucio Fontana Matrice di incisione Stahl, geritzt und mit durchstoßenen Löchern. 80 x 60 cm. Geritzt signiert und datiert 'I.Fontana 66' sowie mit einer Widmung an den Drucker Giorgio Upiglio. - Mit Atelierspuren sowie fest auf Holz montiert. Die vorliegende Arbeit ist in der Fondazione Lucio Fontana, Mailand, unter der Nummer 3654/4 registriert. Provenienz Giorgio Upiglio, Mailand; Privatsammlung, Norddeutschland Das vorliegende Werk ist die bearbeitete Druckerplatte der Radierung: Serie Rosa, 1966, Aquatintaradierung, vgl. Ruhé/Rigo E-27. 1966 entsteht mit „Serie Rosa/Pink Series“, eine Folge von fünf Aquatinta-Radierungen, die in der Werkstatt von Giorgio Upiglio in Mailand angefertigt wird. In jeder dieser Arbeiten ist zentral eine Form abgebildet, die von einer schwungvoll gravierten Rahmung umfangen wird. Die Oberfläche der Druckplatte selbst bleibt geschlossen. Nach Beendigung der Serie bearbeitet Lucio Fontana eine dieser Stahlplatten im Atelier erneut. Mit Hammer und Meißel stößt er mehrmals auf den Rücken des Bildträgers ein, bis sich die Oberfläche öffnet und unterschiedlich große Löcher entstehen. Durch die Öffnung des Bildträgers wird ein skulpturales Werk geschaffen, das den Blick auf einen Raum hinter der Fläche freilegt. Lucio Fontana widmet dieses Werk „Matrice di incisione“ seinem Drucker Giorgio Upiglio, der mit ihm an der Realisation sowohl dieser Serie als auch an weiteren Radierungen zusammengearbeitet hatte. „Towards the end of the period in which the „Serie Rosa“(1966) was printed, Fontana took an etching plate from the series after the prints were numbered and signed. I applied a layer of acid resistant varnish and Lucio Fontana furnished the plate with a dedication to me. The etching plate itself was not an autonomous artwork. There was a smithy located on the ground floor of my print shop. We went downstairs and with a large hammer and chisel, Fontana beat the reverse side of the drawn form till the plate cracked open. In this way he created a split so that it became a unique, autonomous artwork.“ (Giorgio Upiglio in: Harry Ruhé und Camillo Rigo, Lucio Fontana (Hg.), Graphics, Multiples and more, Amsterdam 2006, S.48) Lucio Fontana Matrice di incisione Steel, scratched and perforated. 80 x 60 cm. Signed and dated 'I.Fontana 66' (scratched) and with dedication to the printer Giorgio Upiglio. - Traces of studio as well as firmly mounted to panel. The present work is registered under the number 3654/4 in the Fondazione Lucio Fontana, Milan. Provenance Giorgio Upiglio, Milan; private collection, North Germany The present work is the reworked printing plate of the etching: Serie Rosa, 1966, aquatint etching, cf. Ruhé/Rigo E-27. In 1966, the pink series was created, a series of five aquatint etchings that were produced in Giorgio Upiglio's workshop in Milan. A central shape encompassed by a vivaciously engraved frame is depicted in each of these works. The surface of the printing plate itself remains intact. Following the completion of the series, Lucio Fontana reworks one of the steel plates in his studio. He repeatedly beats the back of the picture carrier with a hammer and a chisel until the surface opens up creating gaps of different sizes. Due to the gaps in the picture carrier, a sculptural piece of work is created which exposes the view into the space behind the surface. Lucio Fontana dedicates this work, Matrice di incisione, to his printer Giorgio Upiglio with whom he worked together not only on the realisation of this series but also on further etchings. „Towards the end of the period in which the „Serie Rosa“(1966) was printed, Fontana took an etching plate from the series after the prints were numbered and signed. I applied a layer of acid resistant varnish and Lucio Fontana furnished the plate with a dedication to me. The etching plate itself was not an autonomous artwork. There was a smithy located on the ground floor of my print shop. We went downstairs and with a large hammer and chisel, Fontana beat the reverse side of the drawn form till the plate cracked open. In this way he created a split so that it became a unique, autonomous artwork.“ (Giorgio Upiglio in: Harry Ruhé und Camillo Rigo, Lucio Fontana (ed.), Graphics, Multiples and more, Amsterdam 2006, p.48)