Il Trimestrale. The Lab's Quarterly, 1, 2008 133
clearly answers him, by saying that it is not necessary to find a synthesis among arts, but we must find the meaning. The form, the communicative way is something absolutely secondary. The only great synthesis which can be realized is the one of a union between form and content. We go over, in one step, the theme of synthesis, by putting more importance to the modern man's content. By being so important, in Fontana's opinion, art inside life that he wants to realize, as we said before, “life in art”, his most important message can not concern modern man. If we consider, the violated canvass as the surface of technological man's existence, we understand how, besides this surface, there is black. When all is said and done, from the realization of the black space, this relationship between superficiality and interiority appears extremely clear. In the black space, man is alone with himself, and he is obliged to look inside himself in order to try to leave all the conventions and structures which narcotise his essence. The warning to his contemporary artists is very clear: we must never fossilize on the superficial aspects of the existence, otherwise the punishment will be loneliness and implosion in emptiness. But, which position does Fontana have regarding art? In a long letter (compared to the other ones) to Edelstein, he writes: “every single day, our fight is one of our spirituality with real life; the doubt is our position in front of humanity, the one which is approaching always more [ to ] the abyss for the ideals which men will never reach […] . Art is another lie, available for all parties and religious credos; art does not develop, because if this was true, we would need Greek art or the Renaissance in order for men to arrive at their perfection; the truth is that art has been used and it is used for each person's advertisement, such as the arcs of triumph, monuments to generals and heroes, epics of fights among Gods, advertisements created by artists which are, today, presented as work, the intention of those who commissioned them, were not those ones. But, if each artist will let himself be transported by the beauty of an abstract and ideal art, we will arrive at doing good for humanity. I do not believe what you say, that art does not follow people and vice versa; that's right, people have a different sensitivity, in search of another emotion art, people like to be moved as during a bullfight or during a sports competition, we must convolve it through new experiences, new emotions […] nothing is served to us in order to humanize us; men like living their life , they live it today as men, few are interested in them, and we can not expect more, we can not satisfy the whole humanity, this is the great lie, art for humanity.”134
As we can understand from this passage, Fontana does not create for Humanity, intended as the historical progression of the Society, but for his strict
L. Fontana , “Lettere 1919-1968”, op. cit., p. 108.