Artist: Alberto Giacometti, Swiss (1901-1966)
Signed and dated 1965 in print.
Size: 24 3/4 by 15 1/8 inches (sight); Frame 34 1/2 by 25 inches.
Condition: Toning from age or in good condition.
At various times identified with Cubism, Surrealism and Existentialism, Alberto Giacometti used his sculptures, paintings and drawings to convey his unique artistic vision. Alberto Giacometti was born in 1901 in the mountain hamlet of Borgonovo, in eastern Switzerland. He was the first of four children born to Giovanni Giacometti, a Post-Impressionist painter, and Annetta Giacometti-Stampa, whose family was among the area's prominent land owners. In addition to his father, several members of Giacometti's extended family were artists, including Augusto Giacometti (second cousin to both Giovanni and Annetta), who was a Symbolist painter, and Cuno Amiet, Alberto's godfather and a close family friend, who was a Fauvist. When Giacometti was no older than ten, he began to send pencil and crayon drawings to his godfather Amiet, most of which he saved and survive today. And in the years that followed, he began to experiment with oils and still-lifes, often using his siblings as models. He produced his first painting at age twelve. In 1915, Giacometti enrolled at the Evangelical School in the town of Schiers, where he continued to work in a small private studio. Later he enrolled at the École des Arts Industriels in Geneva, and studied painting, drawing and sculpture under the tutelage of Pointillist painter David Estoppey and sculptor Maurice Sarkissoff. In May 1920, Giacometti traveled to Italy with his father, where he viewed paintings by Jacopo Tintoretto at the Venice Biennale, Giotto's frescoes in Padua, and ancient Egyptian art at the Archeological Museum in Florence. Soon after, he moved to Paris, where he enrolled in several art classes, and later he began to be attracted to Cubism and primitive art. In 1926 he exhibited his very first major bronze sculpture work, the idol-like Spoon Woman (1926-27), at the Salon des Tuileries. Alberto Giacometti's remarkable career traces the shifting enthusiasms of European art before and after the Second World War. As a Surrealist in the 1930s, he devised innovative sculptural forms, sometimes reminiscent of toys and games. And as an Existentialist after the war, he led the way in creating a style that summed up the philosophy's interests in perception, alienation and anxiety. Although his output extends into painting and drawing, the Swiss-born and Paris-based artist is most famous for his sculpture. And he is perhaps best remembered for his figurative work, which helped make the motif of the suffering human figure a popular symbol of post-war trauma. Giacometti's work of the 1930s represents probably the most important contribution to Surrealist sculpture. In an effort to explore themes derived from Freudian psychoanalysis, like sexuality, obsession and trauma, he developed a variety of different sculptural objects. Some were influenced by primitive art, but perhaps most striking were those that resemble games, toys, and architectural models. They almost encourage the viewer to physically interact with them, an idea which was very radical at the time. In the late 1930s, Giacometti abandoned abstraction and Surrealism, becoming more interested in how to represent the human figure in a convincing illusion of real space. He wanted to depict figures in such a way as to capture a palpable sense of spatial distance, so that we, as viewers, might share in the artist's own sense of distance from his model, or from the encounter that inspired the work. The solution he arrived at involved whittling the figures down to the slenderest proportions. Giacometti's post-war achievement - finding a language through which to represent the figure in real space - impressed the many writers of the period who were interested in Phenomenology and Existentialism. Both of these philosophies contained ideas about self-consciousness and how we relate to other human beings, and Giacometti's art was thought to powerfully capture the tone of melancholy, alienation and loneliness that these ideas suggested. Although the 1950s art world of both Europe and the United States was dominated by abstract painting, Giacometti's figurative sculpture came to be a hugely influential model of how the human figure might return to art. His figures represented human beings alone in the world, turned in on themselves and failing to communicate with their fellows, despite their overwhelming desire to reach out. Thanks to "The Art Story".
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