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76. 然后，龙朝猎人飞去，但他挥舞着剑，砍下了凯·拉斯穆斯·尼尔森（Kay Rasmus Nielsen）的三个头高清作品[59%]

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然后，龙朝猎人飞去，但他挥舞着剑，砍下了凯·拉斯穆斯·尼尔森（Kay Rasmus Nielsen）的三个头-Kay Rasmus Nielsen

Then the dragon made a dart at the hunter, but he swung his sword round and cut off three of the beasts heads--Kay Rasmus Nielsen (丹麦, 1886-1957)

77. 塞缪尔·沃尔（Samuel Wale）的《纽盖特日历插图：拉比发现一个女人的戒指很难拔下，手指被剪掉，靠近芬奇利》高清作品[59%]

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塞缪尔·沃尔（Samuel Wale）的《纽盖特日历插图：拉比发现一个女人的戒指很难拔下，手指被剪掉，靠近芬奇利》-Samuel Wale

An Illustration to the Newgate Calendar; Raby Finding a Womans Ring Difficult to Be Pulled Off, Cut Off Her Finger, Near Finchley--Samuel Wale (英国, 1721-1786)

78. 奥托·范·维恩（Otto van Veen）的《朱利叶斯·西维利斯（Julius Civilis）在退伍军人倒下后剪发，而他的儿子杀死了一些俘虏》高清作品[58%]

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奥托·范·维恩（Otto van Veen）的《朱利叶斯·西维利斯（Julius Civilis）在退伍军人倒下后剪发，而他的儿子杀死了一些俘虏》-Otto van Veen

Julius Civilis Having his Hair Cut after the Fall of Vetera, while his Son Kills Some of the Captives--Otto van Veen (Flemish, 1556 - 1629)

79. “第二幕和坂介在剪断松枝后看着本次擦剑科南用点心招待了利基亚。”由宇川久奈田（Toyokuni III）创作高清作品[58%]

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“第二幕和坂介在剪断松枝后看着本次擦剑科南用点心招待了利基亚。”由宇川久奈田（Toyokuni III）创作-Utagawa Kunisada (Toyokuni III)

Act II; Wakasanosuke Watching Honzō Wipe His Sword after Cutting a Pine Branch; Konami Receiving Rikiya with Refreshment.--Utagawa Kunisada (Toyokuni III) (Japanese, 1786 – 1865)

80. “我用自己的方式收获了它，因为我只割下了耳朵，然后把它放在一个大篮子里，这个篮子是我由N.C.惠氏制作的高清作品[56%]

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“我用自己的方式收获了它，因为我只割下了耳朵，然后把它放在一个大篮子里，这个篮子是我由N.C.惠氏制作的-N. C. Wyeth

I reaped it my way, for I cut nothing off but the ears, and carried it away in a great basket which I had made--N. C. Wyeth (美国, 1882-1945)

81. 卢西奥·丰塔纳，当代艺术I 高清作品[55%]

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卢西奥·丰塔纳，当代艺术I-

Lucio Fontana * - Zeitgenössische Kunst I-

(Rosario di Santa Fe, Argentina 1899–1968 Comabbio)
Concetto Spaziale, 1965, signed; signed and titled on the reverse, oil, tearing and scratching on canvas, pink, 92 x 73 cm, framed

This work is registered in the Fondazione Lucio Fontana, Milan and is accompanied by a photo certificate of authenticity

Provenance:
Galleria Arte Borgogna, Milan
European Private Collection

Literature:
E. Crispolti, Lucio Fontana: Catalogue Raisonné des Peintures, Sculptures et Environnements Spatiaux, vol. II, Brussels 1974, pp. 142, 143 with ill.
E. Crispolti, Lucio Fontana: Catalogo Generale, vol. II, Milan 1986, p. 487 with full-page ill., p. 488 no. 65 O 2 with ill.
E. Crispolti, Catalogo ragionato di sculture, dipinti e ambientazioni, vol. II, Milan 2006, p. 680, no. 65 O 2 with ill.

Lucio Fontana\'s first perforated canvases were created in 1949, and a decade later the artist began to work on his famous cuts through the canvas. Holes and cuts, buchi and tagli, became variations on Fontana\'s fundamental concept. The \"Olii\", on which Fontana worked intensively from the early 1960s, are also dominated by deep punctures and scratches.

With the radical gesture of piercing, the flat surface of the image is broken. The light falls through the openings, creating a new spatiality and depth. In this way, Fontana crosses a boundary that opens a new dimension and thus a new freedom for art - a revolutionary path in art history.

Accordingly, Fontana names his works \"Concetti Spaziali\" - spatial concepts: \"A hole is the beginning of a sculpture in space. My works are not pictures, but art concepts.\" Fontana allows the art genres - architecture, painting, sculpture - to merge into one another. In his Concetti Spaziali, real and imagined space combine; the view into the hole challenges the viewer\'s imagination. At the same time, the material character of the canvas or object is made tangible by piercing and cutting through it.

Fontana\'s \"Olii\" of the 1960s, as well as his metal works which were created during the same period, bear witness to the artist\'s sensual relationship to the material. He was fascinated by the texture of the malleable, slightly plastic oil paint, which is particularly well-suited to making visible gestures of scoring, piercing, or cutting. Fontana plays with the possibilities of handling canvas, paint, metal, glass or even light: the artistic gesture develops on the material and brings its potential to life.

\"The hole is my invention, that is all there is to it.
After this invention, I can die.\"
Lucio Fontana