Manifiesto Blanco, 1946
"What is required is a change in both essence and form. The surmounting of painting, of sculpture, of poetry, of music is required. A major art according to the demands of the new spirit is needed".
View of the Duomo, façadeVeneranda Fabbrica del Duomo di Milano
It was 1950: the institution responsible for Milan Duomo conservation and enhancement, known as Veneranda Fabbrica del Duomo, announced a competition for the creation of the Fifth Door of the Cathedral's façade.
Sketch for the Duomo's Fifth Door (1971-1972 (plaster model from 1955-1956?)) by Lucio FontanaVeneranda Fabbrica del Duomo di Milano
The artists involved included: Francesco Messina, Luciano Minguzzi, Enrico Manfrini. These are just some of the 29 participants–another one remarkable is Lucio Fontana.
Sketches for the Duomo's Fifth Door (1971-1972 (plaster model from 1950-1951)) by Lucio FontanaVeneranda Fabbrica del Duomo di Milano
The founder of Spatialism had already collaborated with the Fabbrica in 1936, creating a sculpture for the presbytery area of the Duomo, depicting Saint Protasius.
Between 1950 and 1956, on numerous occasions, Lucio Fontana submitted to the Fabbrica reduced-scale plaster models for the Fifth Door, together with some preparatory studies on individual panels, in full size.
Pope Urban III (1972 (plaster model from 1950-1951)) by Lucio Fontana and Lucio FontanaVeneranda Fabbrica del Duomo di Milano
Recently, the third plaster model submitted by Fontana was found and restored, and was displayed on the occasion of the exhibition held in 2018 in Sala Gian Galeazzo at the Duomo Museum L'arte novissima. Lucio Fontana per il Duomo di Milano (1936–56).
The bombing of Milan (1971-1972 (plaster model from 1952)) by Lucio FontanaVeneranda Fabbrica del Duomo di Milano
The artistic language proposed by Fontana is presented without any formal schematics, animated by an intrinsic power capable of putting matter in motion, even making it come alive.
Sketches for the Duomo's Fifth Door (1971-1972 (plaster model from 1950-1951)) by Lucio FontanaVeneranda Fabbrica del Duomo di Milano
In Fontana's first proposal, the figures were actually detached from the surface, as if they were animated by a force emitting from within, with no boundary between the individual panels.
Sketch for the Duomo's Fifth Door (1971-1972 (plaster model from 1955-1956?)) by Lucio FontanaVeneranda Fabbrica del Duomo di Milano
This was followed by another proposal, which was the result of measures in line with recommendations by the Fabbrica, and therefore the subdivision into geometrically defined tiles could not be disregarded in any way.
“Episodi vibranti di una forza che sembra volersi liberare dalla materia e ricchi di colore”
The Fabbrica recognized the grandeur of Fontana's creative work, and the exquisite pictorial style of the artist. The Fabbrica defined Fontana's art as novissima (new), to highlight the break with tradition of the artistic language of the past: Lucio Fontana was already important among the greats, but possibly too far away from the contest of the Duomo, and from tradition. He proposed a model with barely any similarity to the other four doors already completed.
[DO NOT PUBLISH] The splendour of the Duomo (1964) by Luciano MinguzziVeneranda Fabbrica del Duomo di Milano
For these reasons, in 1957, the Fabbrica commissioned the Fifth Door to Luciano Minguzzi, who won the competition in a tie with Fontana. He was the favorite in virtue of an artistic language more in keeping with the Cathedral's tradition.
Tap to explore
In the Museo del Duomo, precious traces of this intriguing episode in the history of the Monument can be seen, more specifically, bronze castings of the plaster casts submitted by Fontana to the Fabbrica. The plaster casts themselves are displayed in the Diocesan Museum of Milan (Museo Diocesano di Milano).
Altar of Saint Agatha and altarpiece of the AssumptionVeneranda Fabbrica del Duomo di Milano
Other work submitted by the artist from Buenos Aires to the Duomo's Fabbrica that is worthy of being mentioned is a sculpted altarpiece depicting the Virgin of the Assumption, intended for the altar of Saint Agatha.
Altarpiece of the Assumption (1972) by Lucio FontanaVeneranda Fabbrica del Duomo di Milano
This work was never actually completed in marble, but the plaster cast was used to forge a bronze copy, temporarily exhibited in the Cathedral, and today preserved in the storerooms of the Veneranda Fabbrica.
Read more on Milan Cathedral Remixed.
