to Giaco

i*

Alberto Giacometti
A

Retrospective Exhibition

?s
This exhibition

is

/&

made possible

by a grant from Alcoa Foundation,

Pittsburgh, Pennsylvania

'

The exhibition

is

further aided by

a grant from Pro Helvetia Foundation,

Zurich, Switzerland

The Solomon R.Guggenheim Museum,

New York

*#

Published by

The Solomon R. Guggenheim Foundation,

Library of Congress Card Catalogue

Number: 74-77334

The Solomon R. Guggenheim Foundation, 1974

Printed in the United States

New

York, 1974

Guggenheim Foundation

The Solomon

R.

PRESIDENT

Peter O.

TRUSTEES

H. H. Arnason, Eleanor Countess Castle Stewart,

Joseph

Lawson-Johnston

W. Donner, Mason Welch

Gross, Frank R. Milliken,

Henry Allen Moe, A. Chauncey Newlin, Mrs. Henry Obre,

Daniel Catton Rich, Albert

E. Thiele,

Michael

F.

Wettach,

Carl Zigrosser.

Guggenheim Museum

The Solomon

R.

DIRECTOR

Thomas M. Messer

STAFF

Henry Berg, Deputy Director; Linda Konheim, Administrative

Agnes R. Connolly, Auditor; Susan
Vanessa

L.

Officer;

Halper, Administrative Assistant;

Jalet, Secretary to the Director.

Louise Averill Svendsen, Curator; Diane

Waldman, Curator

of Exhibitions;

Margit Rowell, Curator of Special Exhibitions; Carol Fuerstein, Editor;

Linda Shearer, Research Fellow; Mary Joan Hall, Librarian;

Ward Jackson,

Archivist; Cheryl

Orrin Riley, Conservator; Lucy

McClenney, Sabine Rewald, Coordinators.

Belloli, Assistant

Conservator;

Saul Fuerstein, Preparator; Robert E. Mates, Photographer;

Susan Lazarus, Assistant Photographer; David Roger Anthony, Registrar;

Elizabeth

M.

Funghini, Cherie A. Summers, Assistant Registrars;

Dana Cranmer, Technical Manager.

Anne

B.

Grausam, Public

Representative; Darrie

Affairs Officer;

Hammer,

Miriam Emden, Members'

Information; Carolyn Porcelli, Coordinator.

Peter G. Loggin, Building Superintendent;

Guy

Fletcher, Jr.,

Assistant Building Superintendent; Charles F. Banach,

Head Guard.

Lenders to the Exhibition

Julian

J.

Aberbach

Acquavella,

New York

Mr. and Mrs. Keith Barish

Mr. and Mrs. Wilfred

P.

Cohen

Mr. and Mrs. Nathan Cummings

William N. Eisendrath,

Jr.

Robert Elkon
Annette Giacometti

Bruno Giacometti
Henriette

The

Gomes

Kittay Collection

Mr. and Mrs. Alexander Liberman

Mr. and Mrs. Herbert Lust

Aime Maeght,

Paris

Mr. and Mrs. Herbert Matter,

The Penrose

Collection,

London

PepsiCo., Inc., Purchase,

Frank

New York

New York

Perls, Beverly Hills, California

The Ratner Family

Collection, Ft. Lee,

New Jersey
New York

Reader's Digest Association, Pleasantville,

John Rewald,

New York

Mr. and Mrs. Howard Sloan,

New York

Mrs. Bertram Smith

Dr. Eugene A. Solow

Sheldon H. Solow
Mrs. Lydia Thalmann-Amiet, Oschwand BE, Switzerland

Mr. and Mrs. Joseph Zimmerman

The Art

Institute of

Museum

Chicago

of Fine Arts, Boston

Fogg Art Museum, Harvard University, Cambridge, Massachusetts

The Alberto Giacometti Foundation

The Solomon

R.

Guggenheim Museum,

New York

The Hirshhorn Museum and Sculpture Garden, Smithsonian

Kunstmuseum

Basel, Kupferstichkabinett

Moderna Museet, Stockholm

Milwaukee Art Center

Musee National

d'Art Moderne, Paris

The Museum

Modern

of

Art,

New York

National Gallery of Art, Washington, D.C.

The Philadelphia Museum

San Francisco

of Art

Museum of Art
Museum

University of Arizona

of Art,

Tucson

Worcester Art Museum, Worcester, Massachusetts

Galerie Beyeler Basel

Sidney Janis Gallery,

New York
New York

Pierre Matisse Gallery,

Institution,

Washington, D.C.

Digitized by the Internet Archive

in

Metropolitan

2012 with funding from

New York

Library Council

METRO

http://archive.org/details/comettOOgiac

Acknowledgements

This comprehensive Alberto Giacometti retrospective organized by The

Solomon R. Guggenheim Museum owes

existence to the unexpected

and important group of works from Swiss museums.

availability of a large

Through

its

the courtesy of the Pro Helvetia Foundation and

Director,

its

Luc

Boissonnas, the Guggenheim was apprised of a building program designed to

enlarge the exhibition space of the famous Kunsthaus in
three beneficiaries of a

Zurich one

of the

permanent loan allocated by The Alberto Giacometti

Foundation. The other museums provided for are the Kunstmuseum in Basel

and the Kunstmuseum

Winterthur.

in

Giacometti wing at the Kunsthaus

The enforced temporary

in

closing of the

Zurich impelled the representatives of

the Giacometti Foundation, the Pro Helvetia Foundation and the directors

museums named above, with

Excellency the Ambassador of Switzerland,
of the three

the enthusiastic support of His

Felix Schnyder, to initiate a tour

and Canada of all travel-worthy items in

The Guggenheim Museum offered to receive the Swiss Gia-

of Japan, the United States

their custody.

cometti treasure from Japan with the understanding that

for

it

would arrange

subsequent presentation on the North American continent. The

its

Guggenheim

also obtained permission

from the Swiss sponsors

to

add

to the

works from the Giacometti Foundation loans from worldwide sources and

manner transform

in this
initial

New York

The

a strong nucleus into a full retrospective for the

showing.

difficult task of

Averill Svendsen, this

such a transformation was carried out by Dr. Louise

museum's Curator. She was aided by Dr. Reinhold

Hohl, author of the monograph Alberto Giacometti, published

Harry N. Abrams, whose

itated

work

familiarity with Giacometti's

in

1971 by

greatly facil-

our search. Dr. Hohl has also contributed the introduction to

catalogue.

We

also

acknowledge the assistance of Eva Wyler,

who

this

qualified

for collaboration with us through previous experience gained in the prep-

aration of other Swiss art exhibitions.

The organization
capacities of
alas,

is

of major exhibitions

most American

not exempt in

now

museums and

art

this regard.

It is,

transcends the financial

the

therefore,

all

Guggenheim Museum,
the

more

gratifying to

report increasing willingness of American corporations to provide financial

sponsorship without which massive and sustained cultural programs by art

museums

are

no longer

possible.

It is

thus through the farsighted generosity

of Alcoa Foundation, Pittsburgh, Pennsylvania that the

New York

of the Alberto Giacometti retrospective, as well as that of the

ing exhibition of Three Swiss Painters, could be realized.

Museum,

as well as the public, has reason to

contribution with

much

gratitude.

The

showing

accompany-

The Guggenheim

acknowledge Alcoa's decisive

circulation of the Giacometti

Foun-

dation loan has added to the financial burden of organizer and participants
alike

and

a grant

from the Pro Helvetia Foundation, which

Three Swiss Painters exhibition

context,

we

our

also salute

are indebted for

many

also supported the

therefore, gratefully acknowledged. In this

is,

sister institutions

and

their directors to

whom we

helpful acts in the course of a necessarily lengthy and

complex synchronization of

They

effort.

are

Martin Friedman, Director; The Cleveland

Walker Art Center, Minneapolis,

Museum

of Art,

Sherman

E. Lee,

Director; the National Gallery of Canada, Ottawa, Jean Sutherland Boggs,

Director;

The Des Moines Art

Center, James T. Demetrion, Director. Valu-

able help and important scholarly contributions have also

come

to us

Miss M. Lourie of Pro Helvetia, from Dr. Rene Wehrli, Director, and

of

New York

City.

The Guggenheim Museum's most

is

his staff

Kunsthaus Zurich, and Pierre Matisse, Sidney Janis and Alicia Legg,

at the
all

from

grateful

acknowledgement,

as always,

directed toward the lenders, most notably the Giacometti Foundation,

under the presidency of Mr. H. C. Bechtler, and also to the

Mrs. Annette Giacometti,

Europe and the United

The

in Paris, as well as institutions

States.

Names

widow,

artist's

and individuals

in

of lenders are listed separately.

retrospective devoted to Alberto Giacometti

is

preceded by a selection

works by three Swiss artists Alberto's father Giovanni, his cousin

Augusto and his godfather Cuno Amiet. While there is no intention to overof

state stylistic connections

between

this older

Alberto Giacometti, the biographical and

Three

Siviss Painters catalogue will,

we

generation of Swiss

critical texts as

believe,

Museum

and

presented in the

add to our comprehension of

Alberto Giacometti's position in twentieth-century

goes to the

artists

art.

Credit for this feature

The Pennsylvania State University, its Director

George Mauner as curator of the exhibition and

of Art of

William Hull and to Dr.

author of the accompanying catalogue.

Lastly,

it

should be emphasized that a project as far ranging and complex

as the Alberto Giacometti retrospective can be undertaken only with a highly

trained and dedicated

Guggenheim
lieu of

museum

staff.

Virtually every department of the

participated in the exhibition and should receive full credit. In

expressions of thanks addressed to so many, however,

the separately printed staff

list

for individual

must

refer to

names and mention here only

Linda Konheim's and Cheryl McClenney's administrative assistance; Carol

Fuerstein's extensive editorial

technical expertise without

work; and the contributions of Orrin

which

Riley's

could not have installed the show.

Thomas M. Messer,
The Solomon

R.

Director

Guggenheim Museum

Alcoa Foundation has for many years worked to advance the support and
understanding of the

fine arts

public to see and enjoy.

The

by sponsoring

significant exhibitions for the

exhibition Alberto Giacometti:

Retrospective

and Three Swiss Painters gives us an outstanding and highly appropriate opportunity to help present to public view the works of a major creative personality of the twentieth century

and three of

his precursors.

The

directors of

Alcoa Foundation are pleased and honored to be associated with The Sol-

omon

R.

Guggenheim Museum

in

making

this presentation possible.

Arthur M. Doty, President

Alcoa Foundation

Preface

Among

the great sculptors of our age Alberto Giacometti has the most

distinct style.

the distance like apparitions that

light

men and women come upon

His gray, attenuated

and space despite

constant danger of dissolution in

in

miraculous proximity. Fragile and

their sudden,

no more than

substantial, often

seem

a streak in space, the standing or

personages suggest a merely conditional existence. Giacometti's

fore,

us from

in-

walking

art, there-

often related to a twentieth-century pessimism that has also been

is

evoked

in

word and image by

other

cometti's symbolic content, however,

and not

philosophers and poets. Gia-

artists,

must be seen

as inevitable consequence

concern was to find a form-lan-

as creative intention. His exclusive

guage that would lend a convincing reality-dimension to the visions that

fulfilled

and oppressed him and nothing was further from

his

conscious

striv-

ing than the illustration of a philosophy.

Very

early,

it

became

clear to the

the natural world from which he

young Alberto

drew

reproduced. Like Cezanne before him, Giacometti

exclusiveness of art and nature.

He

that things

and beings

subjects could not simply be

his

knew about

the mutual

created early masterpieces by compre-

hending autonomous abstract form, but eventually rejected a formal perfection attained at the expense of verisimilitude that aspect of reality that

common

be confirmed by

Pierre Matisse, Giacometti

stating: "I

saw

forms which

vision. In his

famous

summarized the

issue with

afresh the bodies that attracted

were true

felt

in sculpture.

But

may

letter to his dealer friend

me

utmost conciseness by

in life,

and the abstract

wanted the one without losing

the other
In Giacometti's youthful creation, roughly
mid-thirties, his efforts

expression.

Working

from the mid-twenties

to the

were bent toward accommodation between form and

first

with the inherited language of Cubism and subse-

quently sharing with his contemporaries the premises of Surrealism, Giacometti's sculptures

human

and drawings symbolized and illuminated universal

states in conceptual formulations of high perfection.

The subsequent

decade, from the mid-thirties to the mid-forties, was given to relentless and

painstaking experimentation that produced few works but prepared the

ground for an

existential, subjective

results of greater objectivity

and

approach which, paradoxically, yielded

and universal

validity. All the sculptor's

means

his total visual environment materials, surfaces, scale, distances

and

proximities, space and light were related to the viewer's vision and mobilized to

transform concepts into matter capable of projecting the reality of

true being.

Only

in the last

his death in 1966,

10

two decades

was Giacometti's

of his

life,

from the mid-forties

to

art capable of relating the three reality-

levels described

by Carlo Huber

and

can be represented.

reality as

it

In this late

as: reality as

reality as

it is

perceived;

phase of characteristically elongated shapes, Giacometti's

framework remains constant, whether

ing that

it is;

in sculpture, in

now assumes a position of renewed

span observable

in his early sculptures

importance.

drawing, or

in paint-

The wide conceptual

has narrowed while the quest for the

rendition of the real continues unabated.

Through

the related

components

of radical formal innovation, great expressive strength and regard for a trueto-life plausibility,

Alberto Giacometti's oeuvre imposes upon us a compelling

world view.
T.M.M.

II

Form and Vision:

The Work of
Alberto Giacometti

Giacometti was an

was the

and linked

art

artist of

many

lucid intelligence with

his

own

life

talents.

One

of the

and work

effect of his writings

on the appreciation and interpretation of

vasive

was

death,

is

significant of these

to the adventures, ambiguities

The

contradictions of the artistic process.

sations

most

which he raised the fundamental questions of

his

work was

and

and conver-

great.

So per-

this influence, that the present exhibition, eight years after his

welcome and necessary occasion

meaning of

his

works.

We

from new angles

to reconsider

the importance of Giacometti's oeuvre, and to discuss

anew

begin to see a grand design linking

sculptures an aspect that

we would

work, notwithstanding the

fact that

like to call the

the possible

many

of his

mythic dimension of

Giacometti himself disguised

his

this aspect

by presenting his works as mere studies after nature, as tentative results, as

not yet (and, as he said, 1 probably never to be) successful attempts.

This mythic dimension was to have been

project for a

monumental group

at

fully

expressed

in

Chase Manhattan Plaza

in

Giacometti's

New

York.

Late in 1958 he had been commissioned to submit a sculptural project for

this site. 2

Giacometti had treated

commission

this

tunity to realize a compositional idea that

years.
ble,

for nearly thirty

Woman tall, mysterious, inscrutaWalking Man forever on his way to ful-

enduring as a

tree; a life-size

a sculpture of a sculptured

Head at once an

head were

Small scale studies were done in 1959

in

had occupied him

oppor-

The bronze figure of a Standing

fillmentand a giant Monumental

and

as the long awaited

i960

(cat. nos.

realized,

94-99); a final state

would have presented

it

(cat.

observing, creative head

make up

to

the composition.

no. 93), full-size figures were cast

was never reached. Had

the group been

the metaphorical or mythical image of the

greater Reality beyond daily preoccupations.

Reviewing Giacometti's oeuvre, one

sculptural themes,

and that

common

such a compositional idea as embodied

understand

group

many

works

of his

in a public place,

strated

and

here that the long

Heads are

studies for a

will find that

thread

is

consists of a

Chase Manhattan group.

in the

to be small projects for such a

it

is

series of

life,

few

We

monumental

our assumption which will be demonStanding

Women, Walking Men and

more complex compositional

In the last five years of his

it

the exploration and use of

idea.

Giacometti seems to have put aside the idea

of a group composition, and even of a monumental outdoor sculpture.

concentrated on single works, and

we have

He

to envisage his final goals in

sculpture in each individual work, particularly in the Busts of Annette, Busts

of Diego and Busts of Elie Lotar of i960 to 1965.

But when Giacometti came to

at the

Museum

of

Modern

New York

in

1965 to see

Art, he visited several times the

his retrospective

Chase Manhattan
13

Plaza

site.

James Lord has described how the

on the Plaza and gauged the

effect.

When

placed some of his friends

artist

Giacometti

left

New

York, he was

determined to continue the Chase Manhattan project and ask his brother and

Diego to begin preparations for

life-long collaborator

a single, very tall

Woman. 5 Once he had returned to Europe he expressed his confithat he could now realize a monument for the Plaza. 6 Two months

Standing

dence

he died.

later

Writings

Life, Personality,

own

In his

lifetime,

Alberto Giacometti was already a legendary figure. His

friends artists, photographers and a surprisingly great number of writers

sensed

who saw him

eration,

cafes, also

intensity

His
as

and

his extraordinary personality

and

life

late at night sitting

him not so much

worshipped

testified to

and talking

for his

If

Many documented

own

accuracy of

many

own

of his

which makes them

more

the

all

facts of his life are quickly

renowned Swiss

artists,

significant.

he benefited from an extensive humanistic and scien-

now concentrated on painting on

He had

painted and sculpted as a

an experimental basis

more

emy

to Italy to

Geneva. In the

used his four weeks

studies.

fall

in

1901 into a family of

in

studio for several months, and subsequently

mal

conversations and

a ring of necessity and poetic

summarized. Born

education until the age of eighteen.

museums and

of 1920 he

went

demie de

more

la

in his father's

professionally at the Acad-

Florence and six months in

become

Rome

a painter.

He

primarily to visit

sketch in art collections and churches, instead of pursuing for-

He

returned to Switzerland with the firm intention of becoming

a sculptor, even though (or perhaps because) he had found

than sculpt.

famous

about particular sculptures and even of

stories
,

in

is

writings provided ample material to nourish

some autobiographical accounts they have

boy; he

Montparnasse

as for the originality,

they are not always true we have reason to doubt the factual

the legends.

tific

at the

work,

rich in biographical incident, yet his life story

an exemplary spiritual adventure.

The

But a younger gen-

integrity of his character.

was not

interviews as well as his

truth,

it.

When

he arrived

easier to paint

1922 he enrolled

in Paris in early

Grande Chaumiere and studied

it

irregularly with

at the

(it

Aca-

might be

precise to say against) Antoine Bourdelle until 1926. In 1927 he rented

the small,

worked

now

historic, studio at 46, rue

until the

end of

his

life.

What seems

which upset the ordered pattern of

visited

have been the only incident

to

his existence

Geneva and could not obtain

War. He never experienced

Hippolyte-Maindron, where he

occurred

in

1942,

when he

a visa to re-enter France until after the

financial hardship, even during the years he did

not produce saleable sculpture, thanks to the loyalty of his family,

ticular his brother Diego.

he did not change

The document most

into his artistic
in late

lery in

And, even when he had achieved fame and wealth,

extremely modest and bohemian

his

life-style.

often cited as a source of biographical fact and insight

development

is

the letter Giacometti wrote to Pierre Matisse

1947 concerning an exhibition to be held

January 1948.

in par-

An

epic account

and

at the latter's

New York gal-

a literary tour-de-force,

it

begins

simply, but goes on to present his artistic production as a coherent and nec-

14

essary development linked to his

promised you, but

could not put

cession of facts, without

from nature

1914

in

which
and

was necessary

it

to

lot of

go

down

it

look

still

was

...

and

it

made my

first

bust

with a feeling of longing and

[it]

boy of

thirteen. Surprisingly,

he

felt

further back

was doing

[andjoften copied paintings and sculptures

this

because he had "continued to do

It is

this

up to the present."

gave

awareness of the coherence of

the character of a saga in which the artistic search

stylistic crises are the

adventures and turning points. This gave

some curious embellishments

Beaux Arts

to the Ecole des

sense.

back indeed he reached even

this far

drawings and paintings

same thing

the

at

of sculptures that

list

"At the same time and even years before

from reproductions." He mentioned

his life story that

the

is

without explaining a certain suc-

would make no

it

nostalgia." In 1914, of course, he

into his childhood:

"Here

life:

on, "I had an aversion to

in his

in
it

own

Geneva
."

rise to
I

went

for not even a year," Giacometti

went

account of his

But then,

life.

"In 1919

in his handwriting,

the manuscript in a significant way: "In 1919

went

he changed

to the Ecole des

Beaux

Arts in Geneva for three days, and after, to the Ecole des Arts et Metiers to

study sculpture." 7

The

Academy

afternoon painting class at the

March

early

Giacometti attended David Estoppey's

facts are, that

in

Geneva from the

fall

of 1919 to

1920, and Maurice Sarkissoff's drawing class at the Arts and

Crafts School there mornings, and studied sculpture privately with the
ter.

as

Yet

this

we want

not the point

is

to

We quote

make.

lat-

the text-revision

an example of Giacometti's habit of returning to and revising previous

formulations in order to arrive at a more powerful expression;

most

significantly in his sculpture

of revision. "Three days"

is

and paintings, which

is

this

is

seen

an endless process

certainly the better poetic formulation.

And

Giovanni and

also reflected a mythical family pattern; for his father

it

his

second cousin Augusto changed from a painting academy to a school

father's

of applied arts after, respectively, one day

and one week. 9

Giacometti's style gives this letter extraordinary immediacy. Although

carefully edited

and thoroughly structured,

hour's impulsive writing.

The

followed by a genial literary

artistic life to
I

am

this.

an

There

is

paragraph (another significant revision,

finale) brings the

account of thirty years of

effective conclusion in the present:

today, no, where

And now

last

seems to be the product of an

it

I still

was yesterday

stop, besides they are closing,

almost no decisive change

"And

but

this

am

is

almost where

not sure about

all

must pay."

in his artistic evolution that

Giacometti

did not present in this or other writings and interviews as stemming from
often quite miraculous incidents. Personal experiences and philosophical
insights certainly

were elements

at the origin of his art,

making

it

unique. His

eminently literary mind and talent gave them significance and cannot be excluded

when examining

his poetic or

approach to

the

meaning of

his

works. His intellectual lucidity,

even visionary character combined with his extremely original

reality confers

upon

his artistic realizations a

work abound

Giacometti's texts about his

in

mythical dimension.

mystifying stories for in-

stance the letter he contributed to the catalogue of the second

New York

exhibition after the War, held at the Pierre Matisse Gallery in 1950. Again,
there

is

revision

a
is

first

text

and

a revision of

alluded to in the very

first

it

the following day. This process of

sentence:

"The

titles

gave you yester-

15

day do not go." Giacometti corrects "yesterday's facts" with "today's truths."

There
art

no more

is

and

interesting introduction to Giacometti's personality

than to study some of his remarks and their variations of the following

day. 10 Seemingly autobiographical anecdotes

complex works

of such

One Head and Nine

as

yesterday's

titles

Three Figures and One Head, Seven Figures and

Figures.

results of clearing his

accompany

work

These compositions are described

and

table,

as fortuitous

also as the rendering of impressions

received in the preceding year and in his youth,

when

the trees and scattered

blocks of gneiss in the Engadine forest appeared to him like whispering

figures

and heads giving

and The Glade,

wagon he had
with much less

respectively.

The

apocryphal

titles

origin of Chariot

The

seen in a hospital in 1938.

is

The Sand, The Forest

linked to a

pharmacy

revised commentaries repeat

insistence these anecdotal explanations, repudiate the "Sand,"

"Forest" and "Glade" as

may be

rise to their

titles

and

call all three

compositions "Place," which

translated "Square" or even "City Square" in reference to one of

Giacometti's most persistent compositional projects. In "today's" text Gia-

cometti linked the heads not only to the

"heads

memory

of blocks of gneiss, but to

dreamt of doing almost twenty years ago" that

thus providing a key to the understanding of works like

1932,

(fig.

1)

around 1932,

is

Model

for a Square,

Table, 1933, and Cube, 1934, and evidence of the general

coherence of his sculptural compositions. As for Chariot, references are

made
and

to

more formal problems, such

at a precise distance

refer to the

from the

as situating the figure in

floor;

it

now

"empty space"

would have been more accurate

to

Egyptian two-wheel Battle Chariot of 1500 B.C., with wheel-

blocks as bases identical to his own, that Giacometti had seen at the Archeological

Museum

in Florence.

This

letter

concludes with the same uncer-

fig. I

Model

for a Square. 1932. Plaster,

Private collection, Paris

16

tainty as the
as of

now

1947

am

letter did: "I will

not sure. For

now

have to find a solution for the

put the

titles

that

you

titles,

but

find the best after

what

letter

was obviously not

have written before, yesterday and today." The

the problem of

real

substance of this

but the allusion

titles,

and con-

to,

cealment of the more serious intentions behind the works.

These mystifications are very much

in the Surrealist tradition.

Moreover,

the writing of an elaborate text by the artist for an exhibition of his

in the spirit of the Surrealist exhibitions

which were dominated by the eminently

When

Giacometti began to write

was

it

for Breton's Surrealist

periodical Le Surrealisme au service de la revolution.

graphical text like his 1933

commentary on Palace

is

thirties,

Andre Breton.

literary personality of

193 1,

in

works

and manifestations of the

seemingly autobio-

at 4 a.m. 11

is

no more than

a piece of typical Surrealist prose, a combination of sexually tinted child-

hood memories, miraculous or very banal

memorable

crises

incidents experienced as fate,

and pseudo-psychoanalytical

investigations. In his writ-

Giacometti continued to conform to Surrealist attitudes even after the

ings,

War, rather than

which we

reveal his true preoccupations,

expression. Yet he expressly repudiated Surrealist doctrine

see as mythical

when he

con-

cluded his essay on Callot, written in 1945, with the remark that in every

work

of art the subject matter

is

of primordial importance

and

its

origin "is

not necessarily Freudian." 12

Giacometti's writings reflect the literary atmosphere of the periods in

which they were written. During the War and

close to Sartre,

early post- War years, he

and probably even contributed

and nothingness; 13 he read, and

cernible in his texts

Le Reve,

le

may have

sphinx

et la

two

essays

about being

to his theories

met, Camus. Existentialism

The

earlier.

again an outstanding literary accomplishment;

is

dis-

is

mort de T. of 1946 and Mai 1920,

published in 1953, but probably written some years

these

was

sented as a combination of at least three consecutive attempts to

first

pre-

it is

tell

of'

a story

and embraces techniques of Surrealism, Existentialism and before the term

was even coined nouveau roman. The rhythmically phrased

to

1965 reveal the influence of

Ma

many, unfortunately unrecorded, conversations.

sur les copies, 1965
metti's

about
a

and Tout

his copies of

October

18,

1965 with the sentences, "I don't

draw

in the silence

".

where

Notes

But

only

know

know am

am,

don't know,

last letters to his

can't

I'll

go on,

never
I'll

fin,

his late

Here,

when

was what Giacometti did

works would not have

embodied

their compelling impact,

is

more

some

We

will

life

demonstrate

album of lithographs

Paris

revealing pages.

relevant, however, to return to the previous period of

1946 to 1950, to the texts which are

tially Existentialist.

in his writings.

discussing Giacometti's

1958-65, for which he wrote

it

go

son Paul, dated October 13,

simply must produce after nature."

as poetically

this relationship

sans

that I've got

they did not also express the accumulated experiences of Giacometti's

and thoughts,

text

he did not only echo Beckett's

or sculpt or paint a nose from nature

in his last years.

you don't know, you must go on,

1906: "I must carry on.

To draw

nature." 14

a nose from

sentence of The Unnamable:

on." but also one of Cezanne's

if

Realite, 1957,

most serious and powerful writings. Yet when he concluded the

to keep trying to

know,

texts of 1953

Giacometti had

nest pas grand chose, 1965, are Giaco-

cela

comedian, a bum, an idiot or a scrupulous fellow.

final

whom

Samuel Beckett, with

This

is

still

somewhat

the period of

what

is

Surrealist although essen-

considered Giacometti's

17

characteristic style of elongated, thin figures, of compositions

Square, Three Figures and a Head, Three

Women, and
Reve,

le

Men

sphinx

et la

Walking, the

series of

Chase Manhattan

ideas incorporated in the later

mort de T. and Mai 1920, there seems

City

like

Standing

he

project. In

much

to be

of bio-

graphical and philosophical relevance beyond the usual literary attitudes. As

man

a young

own

his

Alberto Giacometti was captivated by the

in Italy in 1920,

emotional truth

in Tintoretto's paintings, in

which he found

excitement about Venice; he could not interest himself as deeply

anything else for a whole month. But one afternoon

in

Padua made him

to his account, he

young

change

regretfully

him another, more powerful

girls in

a reflection of

The

found yet another

in

Giotto's frescoes

mind, for Giotto's

his

truth in art.

among

style

showed

very same evening, according

two or

truth: the living reality of

three

the street some nocturnal ladies perhaps, parading in front of the

from the Bregaglia valley who seemed

lad

proportionately
ery, that Art,

tall.

He

to

him powerful and

dis-

did not approach them; he was struck by the discov-

even Tintoretto's and Giotto's, could never match Reality. The

girls remained with him ever after, like the memory of an appaHe rediscovered this characteristic of extreme tallness in the summer of
192.1, when a man suddenly appeared between the columns of a temple in
Paestum. And he rediscovered what had attracted him to Tintoretto in an

image of the
rition.

Egyptian bust in Florence, the

reality;

he found

it

first

the mosaics of the church of Sts.

to

him

head that seemed to him to

like recreated

Cosma and Damian

doubles of the Paduan

girls.

his twentieth birthday, in a hotel

painful death of a companion,

He

room

same

life is

presence. 15

Many

dead man's head and saw "a

quality.

in Tirol,

he witnessed the

whose agonized head he could never

suddenly understood that the essence of the dead

and that

Rome, which seemed

in

Only Cezanne among more

recent artists seemed to Giacometti to achieve this

Around

truly resemble

also in the strongly stylized, elongated, hieratic figures in

fly

man was

forget.

his absence,

years later, Giacometti observed another

crawl into the black hole of the mouth and

there disappear." 16
It is

easy to find examples

which these

(Head of a

texts

Man

among

Giacometti's sculpture of the period in

were written, which more or

less relate to these

on a Rod, 1947, for instance, or the

tall

experiences

Standing

Women

of 1947-49), but such literal parallels obscure the broader meanings of

Giacometti's

art.

Yet these texts allow us to form some conclusions about

Giacometti's esthetics and the mythic content of his work: Art

Reality; the perception of reality
a person suddenly as a

whole

is

reveals,

above

produce an equivalent to the power of

of reality

if

the artist can confer

Formal Developments
In

one of the annual

letters

18

same

to

upon

life;
it

all,

his verticality; style in art

an art work

may become

can

a double

the credibility of a living presence.

Giacometti wrote from Stampa to

his

godfather

his first successful sculptures, portrait

heads of

Diego and Bruno, modelled during the winter of 1914-15. 17 Half

a century later, in the

the

opposed

in the Sculpture

Cuno Amiet, he mentioned

his brothers

is

experienced as a sudden apparition; to see

summer

room Giacometti

of 1964, while modelling a

head perhaps

in

said in an interview filmed for Swiss television:

"If

ever succeed in realizing a single head,

for good. But the funniest thing

that

is,

if I

were

then probably nobody would be interested in

just a

banal

little

head? In

fact, since

probably give up sculpture

I'll

it

to

do

head

anymore

....

what

I've

1935, this

is

as

want

What

to,

were

if it

always wanted

to do. I've always failed." 18

As a boy, inspired by reproductions of sculptures by Rodin, Giacometti

had experienced no
the conventions

which were

raries like Maillol

knows about
measurable

difficulties in

making

But

at a certain

its

sees,

but of what one

volume and substance,

tangible

moment

applied

sculptors through contempo-

not of what one

the reality of a head:

size.

Roman

from

valid

representations

He

busts of his brothers.

its

career Giacometti men-

in his

tioned the year 1935, which should not be taken too literally he attempted

and model

to pierce through these conventions

ceived

it:

immediately as a unity.

He had

head

him

a purely visual entity situated in front of

as he actually per-

and seen

at a distance

means

to create unprecedented sculptural

for

such a representation even Medardo Rosso's impressionistically modelled

do not embody

figures

this radical

new

concept.

means

sculptural dimension as well as a variety of

To

have found

to realize

Giacometti's position in the history of sculpture. This

it is

new

new

this

the basis of

effect

is

easily

understood: whereas a figure by Rosso, Rodin or the Etruscans (the latter

so often erroneously

compared

to Giacometti's

treme elongation) seen close-up and from

image of a

all

figure, Giacometti's sculptures are

works because of

their ex-

sides does not cease to be the

images only when seen

at a dis-

tance and, as a rule, frontally; seen too near or from the back they are but
crusty material.

These remarks, of course, apply to

his

an extraordinarily original sculptor even

work we can observe

of his

mature

But Giacometti was

style.

in his earlier years. In the evolution

a continuing vacillation

between two poles

these poles are the natural forms of reality and the conceptual forms of
abstraction, the truth of external

the forms of his

life

and the truth of

work changed from

art.

Within

this polarity

relatively naturalistic (until 1925) to

human

stylized (1925-1927) to near abstract elements (1928-1931); then

forms were opposed to abstract within

a single

compositional project (1932-

1934). In 1935 the great adventure of seeing reality

anew began. His works

the following ten years were, with a few exceptions, studies of heads
figures

and

from nature (1935-1941), memory (1942-1945) and nature again

(1946). In 1947 Giacometti finally reached a stage in

in his

of

personal sculptural

style, a

of compositional ideas that he

were the years of major

had abandoned

realizations, usually

particularly important to him.

which he could

realize

representation of his perception as well as

1947-1950 and 1956

in 1934.

made

for exhibitions

which were

Between 195 1 and 1956 he most often pur-

sued studies from nature. The years 1957 to 1961 marked the period of transition to his late style;

project for a
left

it

monument

was

at this

for the

moment

that he

Chase Manhattan Plaza,

unfinished. His late sculpture differs noticeably

and culminated
This

stylistic

was asked

to submit a

a project

from

his

which was

post-War

style

in the busts of 1964-65.

evolution

is

demonstrable through a discussion of

sculptural problems. During his

realistic portrait studies.

first

specific

three years in Paris, Giacometti

As these heads became more

stylized they

made

grew

in

19

sculptural quality but lost their descriptive sensibility. Subsequently he whole-

heartedly embraced the Cubist and post-Cubist vocabulary of

Duchamp-

and Lipchitz (Torso, 1925 (cat. no. 1); Personages, 1926-27

Cubist Composition (Man), 1926 (cat. no. 5); Construction:

Villon, Laurens
(cat.

no. 6);

Woman,

works references

1927). In these

the formal balance of

volumes and voids. Giacometti was saved from

ticism because of his superior sense of delicate proportions

gift for

reducing his forms to a most powerful simplicity.

Man

sculptures most notably

1926, Spoon

and Woman, 1926,

Woman, 1926 and

to use primitive art

art.

He

eclec-

and extraordinary

He

Little

also invested his

Crouching Man,

Sculpture, 1927 (cat. nos. 4,

the emotional intensity of primitive

by

to natural shapes are replaced

10) with

2, 3,

was, of course, not the

first artist

forms Brancusi, Picasso, Laurens and Lipchitz did so

before him. But Giacometti recreated the vital forces inherent in primitive
carvings rather than merely borrowing their formal elements. 19 His sculp-

and copulation express

tural signs for genitals

as

in primitive

which

a mythical content

art a formulation of a universal and always

This search for an intense expression of basic compositional forms

Giacometti

difficult for

in this

is

active reality.

made

it

period to sculpt portrait heads (for instance

Portrait of the Artist's Mother, 1927, (cat. no. 7); Portrait of the Artisfs

Father, 1917, (cat. nos. 8, 9) until he had found in Cycladic sculpture ex-

amples of utmost sculptural purity and almost dematerialized expressiveness.

Giacometti arrived at a style of sculptural maturity in 1928 with a

works of which the most important are Observing Heads

slab-like

The

12, 13).

title itself

object, but as a living

figures,

reveals his intention of rendering a head, not as an

force a preoccupation that lasted

on the other hand, were now reduced

Woman,
bined,

1929,

Woman,

(cat.

no. 17),

hieroglyphs,

like

1928-29,

The Reclining

(cat.

series of
(cat. nos.

to

The

until his death.

to sculptural signs {Reclining

Man, 1929, (cat. no. 19)), which could be combecome expressive compositions (Man and

no. 16)).

Woman who Dreams, 1929, (cat. no. 18)

was not merely influenced by

to Surrealism. Giacometti

ment, but he was, together with Arp and

marks the

transition

the Surrealist

move-

Picasso, one of Surrealism's

most

authentic sculptors. With the vocabulary he had developed at his disposal

half-sphere, crescent, spike, pole

was now

to animate

ual encounters

and

and

and cone, Giacometti's principal concern

to arrange these

cruel confrontations.

forms into scenes suggestive of sex-

The problem was

that of fixing or

even staging the "characters" of his plots a problem easy to resolve

ing, 20

where the canvas serves

as the stage. In sculpture the

in paint-

problem

ulti-

mately becomes essentially that of the relationship between sculpture and

base. 21 Giacometti invented

Figures Outdoors, 1929,

Suspended

(cat.

a ball

which

on

rests

a string.

on

Circuit, 193 1 (cat. no. 26)

2) is a veritable

like visual

model for

The

a flat

grill. 22

For

he constructed a cage from the top of

ball

swings freely over but never touches

a platform, inside the cage.

is

The Three

wooden board.

a stage; in fact,

all

the

The

field of

action of

Palace at 4 a.m., 1932

works of the

(fig.

early thirties are

models used to express psychological dramas, dramas which

tensely effect the viewer.

20

effective solutions.

no. 21) are presented as an upright

Ball, 1930, (cat. no. 22)

which hangs
a crescent,

some extremely

in-

fig.

Palace at 4 a.m. 1932.-33. Wood, glass,

wire, string. Collection The Museum of

Modern

Art,

New York

To enhance

Giacometti considered making

their effectiveness,

Model for a Square, 1932

of these pieces,

might enter the composition to

move among

and

reality

so that the spectator

assist in the "plot." If real

people were to

and become part of the composition, the

the sculptural forms

antagonism between

(fig. 1), life-size,

one

at least

would

art

at

once be exposed and resolved.

Giacometti found other ways to constitute links between his sculpture and
the real world.

He made

the

work

ronment by eliminating the base

like

any other object, as

of,

mercy of the spectator,

both of 193 1,

Woman

as in

no. 28) or by

making the base belong

and the

world of

real

become

Disagreeable Object

in

able Object to be Disposed

at the

of art

a part of the existing envi-

so that the sculpture

at

lie

a table

no. 24) and Disagree-

no. 25) or

(cat.

on

on the

with her Throat Cut, 1932,

floor
(cat.

once to the imaginary world of

room,

a furnished

(cat.

would

as in Table,

no. 31).

(cat.

1933

art

Giacometti's art was never more Surrealistic than in these ambiguous pieces,
since they

do not merely

exist as objects to be perceived esthetically, but pro-

voke the viewer's active confrontation and participation. The next step was
to control the viewer's participation

relation to the sculpture.

The most

This frontal relationship

is

by indicating where he should stand

basic relationship

implied in Caress, 1932

engraved outlines of a right and a

left

hand on the

marble sculpture, whose shape suggests

they are actually the

hands of someone

artist's

who

left

no. 27) by

and

means of

right sides of the

own hands are

immediately understood as the

stands directly in front of the work, thus prefiguring

Although the concept of abolishing the

and the world of

reality

environment of the viewer

comply very long with

Women. 25
between the world

strict distinction

by incorporating the

art

work

into the real

eminently Surrealist, Giacometti could not

is

Surrealist doctrines.

especially the exhibitions after

objects,

(cat.

in

a frontal encounter.

pregnant woman. These hands

Giacometti's intentions in his post-War Standing

of art

is

Whereas

1935 were ephemeral

Surrealist activities

displays of assorted

assembled to create fantastic situations, Giacometti wanted to make

permanent and even monumental compositions. Had the Model for a Square
been realized

mon

life-size, its

with monuments

sculptural elements

like the prehistoric

umental heads of Easter Island with

would have had more

in

com-

Stonehenge complex or the mon-

their expression of

some

universal or

mythical reality than with a Surrealist manifestation.

This spiritual dimension necessarily escaped Andre Breton, when he com-

mented on the origin of Giacometti's The

33).

24

tenant
le

The

title itself

Invisible Object,

pun inherent

as well as the

in its alternate title,

vide" (And

was,

now

emptiness),

in fact, the

his forms,

Solomon

is

rebuke to the Surrealist cult of the object.

in the First

World War) 25 had helped

Islands Seated Statue of a Deceased

Museum

ments of Oceanic

the artist to find

human shapes from

Woman, which he had seen

art,

in Basel,

and had combined them with other

a
at

ele-

such as the bird-like demon of death. These formal

origins, together with the

all

at the flea-market

Giacometti had borrowed the stylized

the Ethnological

2Z

no.

"Mains

prototype for an iron protection mask designed by the

French Medical Corps

above

(cat.

vide" (Hands Holding the Void), which can be read as "Maintenant

le

Contrary to Breton's story that a mysterious object found

(it

1934

impact of a hieratic frontality, should be considered

for their mythical content.

Some

time before 1935, Giacometti began to

difference

between the almost abstract forms of

lamps he was designing for an

feel that there

his

interior decorator.

was no

real

work and

the vases and

(One of

his decorative

objects was, in fact, reproduced in an avant-garde publication of 1937 with

the caption Sculpture. 26 ).

Giacometti described the dilemma he experienced

letter to Pierre

1947

saw

Matisse: "I

and the abstract forms which

life

the one without losing the other

tions with figures."

were true

And

to represent a

in

Woman

Walking

But

wanted

make composi-

head and was part of a monumental

relates to the stance

and

most

sensitively styl-

Archipenko's bronze

style of

Flat Torso, 1914. In 1935, stylization whether geometric or biomorphic

was no longer Giacometti's aim. He wanted

which would be perceived

as reality

is

make

studies

from nature for such

He began

go further and create

figures

perceived, and which at once

would

to

carry the imprint of the spectator's perceptive participation.

tions to a head.

in

Table, 1933) exemplify these

project which will be discussed later; the elegantly and

ized

me

no. 29) and Cube, 1934 (cat.

(cat.

form already used

Cube was

in sculpture.

then the desire to

Walking Woman, 1932

no. 34) (a stereometric

preoccupations.

felt

in this period in his

afresh the bodies that attracted

a figure, but

to explore the

He began

to

he soon limited his investiga-

phenomena

and

of perception

reached conclusions with profound esthetic, psychological and philosophical

repercussions.

head or

a figure

indivisible unity.

If

is

this

perceived at a single stroke and

were not

so,

it

tion of disorganized elements of skin, eyelashes

must always be seen

is

experienced as an

would be seen merely

at a distance, there

is

as an

accumula-

and so on. Since the object

always space between

viewer's eye. Perception, as Giacometti thought of

it, is

it

and the

an exclusively visual

experience which reveals no sense of weight, and only by mental correction

the actual size of the object.
lished only

by looking

He

also

found that

real visual contact

was

estab-

full-face at a person, usually directly into his eyes.

Giacometti concluded that the imprint of the viewer's perception on a work

of art could be expressed by rendering the effect that the art

seen frontally and owes

is

work was

seen

an unbridgeable distance as an immediately understood unity which

at

its

existence as an image to the viewer.

The

is

sculpture

transformed from mere clay or bronze into a figure by the active participa-

tion of the viewer.

All Giacometti's sculptures

these researches. Their style

between 1936 and 1941 were studies related to

may

appropriately be called phenomenological

realism, in contrast to the conceptual realism of traditional sculpture.

with Chariot, 1942,

(cat.

no. 39)

is

Woman

the only large-scale piece from this

period; the figure stands on a cube to which wheels are attached, so that the

sculpture might be

moved back and

phenomenological

its

forth

and thus demonstrate changes

in

size.

Between 1942 and 1946 Giacometti made extremely small sculptures and
placed them on relatively large bases, to create the effect that the figures were
far

away from

tures,

so

the viewer. Moreover, the figures

do not have detailed

which reinforces the sense of distance. Their miniscule

much

actual perception as the

remembered image of

size renders

a figure seen far

fea-

not

away

13

on the

which has

street,

recognizable details without losing

lost all

its

identity.

His phenomenological investigations led Giacometti to further conclusions

in 1946.

He

realized that space does not exist merely in front of a figure, but

surrounds and separates

we

see as

much

field of vision

it

from other

objects.

When we

look at something,

of this space (particularly at the sides of the object) as our

permits. 27

The

figure seen at a distance appears

pronouncedly

thin in relation to the absolute standard of our field of vision.

quence of

its

thinness, the figure also appears relatively

As

a conse-

The change from

tall.

the tiny representations of the preceding years to the elongated figures of

1946 resulted from new studies mostly drawings from nature.

In 1947 Giacometti gave

permanent form

adopted them as his new sculptural

less

and massless

monumental compositions

He had broken
He

as

it is

is

and

as expressive

for single heads

and

seemingly weight-

complex

effective for

figures seen frontally.

through the traditional sculptural conventions and found a

way

truly personal

style of elongated, thin,

This style

figures.

and

to his visual experiences

to express his vision of reality.

overtly challenged these conventions by referring to traditional sculp-

themes in his own sculpture: in Man Pointing, 1947 (cat. no. 50) (part of
now lost two-figure composition 28 he presented his own version of the pose

tural
a

of the classical Greek Poseidon of

Baptist Preaching;

Cap Artemision,

Walking Man, 1947,

(cat.

Walking Man; every motionless Standing

allusion to Egyptian burial figures

or of Rodin's

no. 47)

John the

St.

Rodin's

his version of

is

Woman

from 1947 to 1949 is an

or early Greek Korai, whose hair style they

even occasionally borrow. The base of a Statiding

Woman

is

often not only

make

the sculpture stand, but an abbreviated per-

spectival rendering of the floor

on which the model was standing, and which

the traditional device to

Head

thus becomes an integral part of the sculptural image. In the expressive

of a

Man on a Rod

ing the head atop

no. 48) the problem of the base

is

eliminated by plac-

a rod. 29

Giacometti was

the

(cat.

now

ready to execute complex compositions of

his

own

"compositions with figures" he had desired to make before working

from nature
55, 56)

made

may

in 1935.

Men Walking

Three

and City Square, 1948,

(cat. nos.

be considered as models for such works, for which he also

large studies.

These works cannot adequately be discussed

formal terms; their themes will be analyzed

Based on the concept of the

Woman

in their

purely

in

iconographical context.

with Chariot, 1942, Giacometti executed

monumental bronze Chariot, 1950, for a public plaza, a commission that

was ultimately rejected by the Municipality of the City of Paris. 30 The espe-

the

cially

real

numerous

no. 62) of

(cat.

realizations of the fifties include

which the base

is,

Four Figurines on a Base

like that of Table, 1933,

both a part of our

environment and an element of the imaginary world of the work of

the pedestal supporting the figures

is

representation of the shining floor on which Giacometti

1950

letter to

women in

Pierre

a cabaret. In

art;

triangular, rendering a foreshortened

according

to his

Matisse had seen some seemingly unapproachable

Four

Women on a Base,

1950,

(cat.

no. 61) the

women

are represented as isolated individuals, united only by the base and the space

they share. This idea perhaps provides a key to the understanding of the

Standing

Woman

series of 1956,

known

as

Women

of Venice

to IX, for

example

76-81, which were

cat. nos.

ferent states of execution of the

full

made

for the Venice Biennale of that

These were executed as individual figures some are

year.

meaning, which

same

sculpture,

31

in fact casts of dif-

however, they achieve

their

an expression of solidarity, when shown as a group, as

is

when arranged by Giacometti at his exhibitions in Venice and Bern

One of the projects that did not progress beyond the model stage is
Project for a Monument to a Famous Man (cat. no. 82) of 1956. The

they were
in

1956.

the

sculptures of the

Head
and

of a

Man generally done after nature, with

his brother

wards

new

Diego

Women

mostly figures of Standing

fifties,

as

models reflect

sculptural concept and a

extreme dematerialization of the

called

Giacometti's wife Annette

slow but constant development

new

figures,

and busts

Giacometti abandoned the

style.

and

to-

after 1955, also the blade-like

thinness of the heads, and replaced these stylistic exaggerations of his vision

with several other effects such as fragmentation or treatment of the

massive busts as sculptural repoussoirs, that

now more

as contrasts to increase the

is,

illusionary distance of the heads.

Giacometti began to see that a sculpture, which was to become a "double

of reality," 32 could no longer be represented merely as a function of the

viewer's perception;
the spectator's eye.

must rather be

it

a creation existing independently of

The confrontation should be

mutual one. From the

late

1950's on, Giacometti therefore concentrated almost exclusively on the prob-

lem of conferring
spark of

ing, the

Woman,

heads. Seated

gaze upon his sculptures, for the faculty of see-

the eyes

1956,

own

The

gaze.

the proof of the real existence of these

is

no. 86)

(cat.

concepts she possesses a

new
her

a life-like
life in

new

busts of Diego

is

work which

sculptural solidity and,

on a

Stele,

most important,

(cat. nos. 88, 89)

1957

employ the Roman and Baroque formulation

expresses these

even

re-

of the base as a stele, but

Giacometti integrated the base with the sculpture. This quotation of a tradi-

format enhances the novelty and power of the head's presence,

tional

in par-

The Monumental Head of i960 refers in its sheer size, volume

and gazing eyes to the Roman Colossal Head of Constantine, which Gia-

ticular

its

gaze.

cometti had sketched at this time. 34

Giacometti achieved his

1964, (cat. nos. 103-108)

This
for

is

around 1962. The Busts of Annette, 1960-

seem, upon superficial inspection, to be rather

busts like the "banal

traditionally modelled
in the interview of

last style

may

1964 were

it

little

head" Giacometti spoke of

not for the inescapable power of the gaze.

even more true of the Busts of Diego and Busts of Elie Lotar of 1965,

example

(cat.

in). The most rudimentary representation of cor-

no.

poreality imaginable, they are almost a negation of the organic existence of

their subjects.

seem to be
gaze

is

These busts bear almost no resemblance

self portraits

piercing, they

rather than portraits of the

do not look

his presence. Rather, they

to their subjects; they

sitters.

directly at the observer or

Though

their

acknowledge

look through him, the vector of their gazes con-

necting the interior of their heads with another reality.

They dominate

their

surroundings by their very existence. They no longer exist in imaginary

space, but in our

own

space.

They not only

fill

space, they actually create

the surrounding spatial relationships. Like the greatest religious sculptures

of the

upon

past Michelangelo's Rondanini

their

Pieta, for

example, they impose

surroundings the aura of a privileged, one

may perhaps even

say,

a sacred space.
*5

Some Continuing Compositional

Modern

Ideas in the Sculpture

interpreters are reluctant to

analysis of a

work

go beyond the

historical

and formal

many verbal fantasies have discredited

art. The preliminaries for such a search

of art, since so

legitimate search for

meaning

in

the
for

meaning, which are the study of formal solutions, often become the not very
relevant end of art criticism.

Thus Giacometti's oeuvre cannot only be examined from

the formal point

We have already seen, for example, that the extreme slenderness

of view.

and

elongation of his figures are significant for the ideas about perception that
they represent. But this can hardly be
text

all

that there

is

to be said. In this con-

important to point out that these formal characeristics are not

it is

related, as has often

at all

been proposed, to ideas of famine and the miseries of

war or concentration camps. Nor do

the figures, isolated

on

their bases or

confined to a cage, express fashionable concepts of "existential solitude" or

"the anxiety of

modern man." 35 Giacometti made

was

1962, that solitude

anxiety
It

whose

titles invite

philosophical speculation, or whose sculptural forms lend

no. 58) for instance,

(cat.

walking from a bronze box

as a

metaphor

for

life

at left, into

visible in the center glass

which we cannot

see, at right.

originating in the

unknown which

The Figure between Two Houses,

woman

is

bronze box, into which we cannot

the other

that

an allegorical reading of certain pieces

difficult to give

themselves to metaphorical interpretations.

1950,

clear, in interviews in

man. 37

the constant state of

is

would not be

it

what he intended, 36 and

the very opposite of

box

another

see, to

This figure could be described

unknown and proceeding towards

involves the certainty of death. In the 1950 Pierre

box

Matisse Gallery catalogue, Giacometti called the sculpture a "figure

in a

between two boxes which are houses." An unverified rumor even

specifies

the "houses" Giacometti

photograph of a nude

was

referring to

woman

and implies that

chased from a

cell

gas chamber actually inspired the artist to do this work. Even

the sculpture

would not be

1945 newspaper

block to the block of the

if

this

some

casts

one cast

in at least

Egyptian burial
This

is

woman. The

painted in flesh tones to express her vulnerability, and

is
is

gilded to represent her precious essence, like a golden

figure.

not the place to analyze the metaphorical meaning of each of Gia-

cometti's compositions. Struck by the fact that a few sculptural

among which

are representations of walking

periods in Giacometti's sculpture,

We

true,

mere representation of the ordeals of the con-

centration camps, but a glorification of Life as embodied in this

figure in

were

try to

we

women recur

rather ask

what

themes
different

at

their unifying idea

is.

analyze the metaphorical imagery in order to formulate the

fundamental myths which they embody.

The walking woman between

common

with the Walking

the

Woman

two houses seems

of

The

have something

1932 but what does

cavity under the bust of this figure signify? Both

figure "holding the void" of

to

seem related

in

the triangular
to the seated

Invisible Object, 1934, (cat. no. 33)

Mother

and [Walking] Daughter, 1932, Tightrope Walker, 1943 and The Night,
1947,

26

38 a

sculpture of a

woman

walking on a sarcophagus-like pedestal and

conceived as a project for a

monument

mon theme

Woman

is

continued

in

for the French Resistance.

on a Boat, 1950, 39

The com-

a composition again

reminiscent of Egyptian burial figures on boats, and finds

in Chariot, 1950,

ture as

for

me

had been made

if it

not to execute

in front of

although

it,

me, and

was then

it

for

moment

Paris at the

he had developed

a vision of on-going

"La
in

vie continue"

the

shows

life.

on

This was,

foreground of the drawing

left

these

in fact, the

lost plaster

it

was impossible

in

common

formula inscribed

its

is

French

in

recognizable

is

Studio, 1932 (cat. no. 164):

a pregnant body, similar to Caress, 1932,

in

for the expression

works have

composition, which

My

the sculp-

already situated in the

new formulations

women. What

now

me

saw

war memorial commission

past." Giacometti proposed the Chariot for a

of his ideas in the figures of

1950

in

realization

its last

about which Giacometti wrote: "In 1947

it

back turned to an open

grave. 40

From 1950

on, Giacometti's female figures were no longer represented as

walking or moving. The

artist

compared them

Three Figures

to tall trees, as in

and One Head (The Sand), Seven Figures and One Head (The
Nine Figures (The Glade),

all

of 1950 (cat. nos. 63, 59, 64). In

cometti's rare color crayon drawings the

theme of

man

staring

Forest) and

some
up

of Gia-

into a tree

several times his size recurs, for instance Little Figure, Large Tree, 1962 (cat.

no. 187). Giacometti also used this

Kaufmann mausoleum

same motif

Bear Run,

at

house built over a waterfall. The

merely decorative. 41 With

this

site

in the

for the gate-grill of the E.

was too

significant for the motif to

woman" and "woman on

woman"

to

"woman on

and the equation of "standing

and with the myth of

The man

Life

"walking

becomes

a boat" or

with "tree"

clear.

looking at a tree reminds one, of course, of the male busts which

are in The Sand and The Forest mounted on the same platforms
tree-like
fig-

The Cage,

detail, 1950.

Bronze

of a

man

women;
is

be

iconographical background, the evolution

from "pregnant body"

a chariot,"

J.

park of Frank Lloyd Wright's

the combination of a standing

even more effective

in

woman and

as the

a staring head

another work of 1950, the Cage

(fig. 3). It

17

%
1

+ 1=3.

x 934-

Plaster. Private collection

seems to express one of the faculties of man, the faculty of thoughtful contemplation or even of visionary understanding, which belongs to a seer or an
artist,

Of

or to the artist as seer.

the innumerable series of Giacometti's sculptures of heads,

The Monumental Head, i960,

particular interest in this context:

95) and the Cube, 1934, (cat. no. 34). For the

Cube

is,

James Lord, 42

the

Partie d'une sculpture ("part of a sculpture"), placed

made

pedestal, as

logue of 1947. 43

Cube

is

shown

On

Monumental Head
is

It

in

its

facets the artist

no.

Lucerne in 1935 with

in Giacometti's sketch in the Pierre

one of

it is

engraved a

on

a specially

Matisse cata-

The

self portrait.

of i960, which, incidentally,

also represented

supposed to be included

on

the sculpture of a portrait-head

on

a base

are integrated with the sculpture.)

the

was exhibited

(cat.

thus the support for a portrait and, as such, a sculptural representa-

tion of an art-work;

Cube,

a head.

are of

as Giacometti once

said to
title

two

in the

which
I

rests

on

same

the

is

a plinth,

a base.

(The

size as the

and both elements

do not know what other elements were

composition of which Cube was a part. In

same year Giacometti had made

a conical figure of a pregnant

woman

with the self-explanatory title 1 + 1 = 3 (fig- 4) about which he wrote in 1947:

"A last figure, a woman called 1 + 1 = 3, for which found no acceptable
I

artistic solution."

That these two sculptures were meant to form

a composi-

tion, together expressing the opposition of Art (artwork, the artist)

is

and

Life

only a hypothesis, but at least the theme can be documented by the draw-

ing Lunaire (cat. no. 167), 1933. At the upper

head; at the lower right

is

a stereometric

Cube. The whole sheet, except for the

form,

is

carefully cross-hatched

ing Melancholy

I,

left is a

desembodied human

form very much resembling the

human head and

a facet of the abstract

and resembles an engraving.

Diirer's engrav-

15 14, was, in fact, the source for Giacometti's Cube; one

has but to reverse Giacometti's composition to see that the two polyhedrons
are identical.

28

As Erwin Panofsky demonstrated, 44

Diirer's

Melancholy

is

an allegory of the

artist's

drawing also

metti's

condition and melancholy temperament. Giaco-

refers to the series

The

45 Picasso
1933,

i,

shows

woman

nude

sculpture of a bearded head, a composition which

Lunaire. In another, Sculptor

from Picasso's

Model and Monumental Sculpted

Vollard Suite. In one of these etchings,

Head, April

Sculptor's Studio

opposite a gigantic

quite similar to that of

is

and Kneeling Model, April

8,

1933,

46 a

bearded

contemplates his nude female model and an overturned sculpture of a

artist

male head

from the pensive angel

rived

The

the lower right corner.

lies in

sculptor's pose

Melancholy

in Diirer's

visibly de-

is

while Diirer's

I;

alle-

gorical figure looks at the cube, Picasso's artist contemplates the living model,

having thrown his sculptured

self portrait to the floor. It

Other quotations of

Melancholy

Diirer's

Here the polyhedron on the

woman, and placed together with

the

bowl on the

combination of

modern

make

opposed

obviously an

is

artists,

The

original plaster of the Table contained a

the

and perhaps

(cat.

to the bust of a veiled

artist's

work

table,

and

meaning more pointedly contemporary. 47

and

missing in the bronze

Table

in the

such as Brancusi, Leger, Laurens

especially Magritte,

erotic piquanterie,

can be found

human hand and a bowl similar to

Picasso's Model and Monumental

table in the foreground of

quotations from works by

left is

a stylized

Sculpted Head. Giacometti's Table

is

which reveals the meaning of Giacometti's work.

these elements

no. 31).

is

pestle, 48 at least

mortar and

an

a reference to a broader theme. This element

Table was made for the Surrealist

cast. Since the

work not only contains the oppoform the opposition of "bodies that

Exhibition at Pierre Colle in June 1933, the

sition of art

attracted

and

reality in allegorical

me in life and the

as Giacometti

wrote

in

abstract forms

1947 but

which

felt

in sculpture,"

work

table

room where

living peo-

In this period, Giacometti used sculptural abbreviations to

oppose to

with the evidence of his occupation) in an exhibition

ple looking at

man's
In

were true

places the artist's world (his

it

would oppose

faculties for

reality to art.

contemplation and creation, his capacity for procreation.

Three Figures Outdoors, 1929,

(cat.

no. 21)

two spheres (heads) and two spikes

two males, characterized by

aggressively approach the

(phalli),

woman. The theme is even more dramatically formulated

Cage, 1931 (cat. no. 23). The shape of a sphere recurs in Suspended

sculptural sign for

in the

Ball, 1930, a

1889,

49

composition which should be compared to Rodin's Eternal Idol,

where

man, kneeling

in front of a reclining

hind his back, leans his head forward to

her. This relationship

woman,

his

hands be-

without actually touching

kiss her,

between the sexes found an equally powerful expres-

sion in Giacometti's Circuit, 193 1

moving around the groove carved

(cat.

in the

where

a sphere, endlessly

wooden board,

will never reach its

no. 16)

goal, the cavity outside the circuit. In Palace at 4 a.m., Giacometti repre-

sented himself according to his poetic account as a combination of a

sphere and a phallic

mother-figure, at
(a

tomb) and a

position

is,

stele,

left,

bird's

and

placed in the middle of the construction between a

at right

an abbreviated

human

skeleton in a cage

skeleton between procreation and death. This com-

in fact, a sculptural adaptation of Boecklin's Isle of the

1880, in which the

left

and

right sides are reversed.

sphere as sign for a man's head, as

as cipher for a

in

Man, 1929,

Dead,

phallic stele plus a half-

(cat.

no. 19), plus a cone

pregnant body are the main elements of Model for a Square,

19

I93 2

(fig- !)>

That

it

together with a zigzag-shaped form which resembles a snake.

really

mobiles

is

studio of 193 2,

mental

a snake

is

clearly visible in

muets, 193 1, as well as

et

size.

50

one of the sketches of Objets

in Brassai's

photograph of Giacometti's

which shows the same elements executed

For Model for a Square was,

in plaster in

in fact, a project for a

monu-

monumental

stone composition which was to be executed so that real persons could

traverse

Square.

it

51

or

sit

It is

on the bench-like form which

difficult

also appears in

of the Expulsion

from Paradise.

in the biblical

52

City Square, detail, 1948-49. Bronze

30

for a

not to read this composition as a metaphor for the

fundamental sexual and existential revelation as expressed

myth

Model

In his

pre-War period, Giacometti never came any

complex

closer to a

mythical composition conceived as a large-scale monument. After the War,

Giacometti's male figures except the

Men

Walking Man, 1947; Three

ing:

Man

Walking, 1948; City Square, 1948;

Walking Quickly under the Rain, 1948;

nos. 47, 55, 56, 52, 57).

They share with

dition of being always

on

tions

is

more

1932 than the mere similarity of

we must

interpretation,

work

sculptures and began to

with figures."

sitions

If

Man

Crossing a Square, 1949

(cat.

the sphere of Circuit, 1931, the con-

in

common

titles.

with

Model

for a Square of

But before attempting any further

consider the fact that between 1935 and 1946 Giaco-

phenomenology

metti studied the

Man

way. The most complex of these composi-

their

City Square, which has

1950 are always walk-

Falling,

of reality.

He had

ceased to do conceptual

make compo-

after nature out of "the desire to

the phenomenological studies were undertaken in view

of compositions with figures, then their final result the massless, weightless

and elongated sculptures

perception and
ects.

We fully

after

when

of reality

a real

As

consequence of

monumental

work an expression

of the 1932

Model for

we understand

this,

own

condition, in

a Square.

Men

many

such a composition Giacometti,

years later, looked at City Square

Basel, he stood very close to the sculpture

Seeing the

work

them

ceives

way, one shares the

in this

as tiny, but as life-size

ing, life-like experience.

in the

(fig. 5)

figure's space;

one no longer per-

own

and

men

placed

woman

stands

remarks:

interest

me more

painting. Every second the people stream together

to get closer to

compositions

living

the

woman

duce

The

is

men direct their steps more

standing.'' 1

in everything

"totality of life"

It's

than any sculpture or

and go

complexity.^.

stalk a

In 1958,

is

the totality of this

the closest verbalization

posals

was

the

The men

woman. A woman

is

life

that

want

to repro-

we can propose

We do

not

the theme of the Chase

Manhattan

Chase Manhattan Bank considered placing

in front of its

for the
feel that

only to a situation in the present, but to a universal

would have been

when

Jo. 58

this "totality of life" refers

on the Plaza

or less toward the spot where

mythical dimension of Giacometti's compositional ideas.

Present. This

apart, then they

one another. They unceasingly form

in unbelievable

walk past each other without looking. Or they

standing and four

a convinc-

a part of the composition. 55

so that their paths will not cross the spot where the motionless

approach each other

fact,

Gia-

Kunstmuseum

Fortunately, the meaning of this composition of four walking

and re-form

in

When

and the confrontation becomes

can be documented by Giacometti's

of

figures at eye-level. 54

and saw the

The viewer becomes

In the street people astound

Women

and Standing

wrote "studies" 53 on the back of photographs taken of them.

cometti,

in a

City Square essentially as a model

and the Walking

project,

life-size studies for

1947-49 as

of his

person would have recognized his mythical ancestors

monumental enlargement
for a

confronted with them. Then

living persons are

the viewer recognizes in the art

same way

pertinent to problems of

understand the attempt to make the figures of City Square be-

come doubles
the

1946 is not only

but to the inherent meaning of the compositional proj-

style,

new

office building in

to ask Giacometti for a

New

project.

a sculpture

York, one of the pro-

monumental enlargement

of his Three

31

Men
The

Walking. This enlargement would have included

artist

platform and base. 59

could not agree, 60 since base and platform characterize the Three

Men Walking

as a small scale

executed in monumental

ment

its

model

for a plaza composition which,

when

should place the figures directly on the pave-

size,

make them stand.

which he made the

of the real plaza, with only small plinths necessary to

new composition,

Giacometti submitted instead a

for

small model figures in 1959 and the large Standing

and Monumental Head mentioned

We

now

are

in

Woman, Walking Man

our introductory chapter,

familiar with the metaphorical

in i960.

background of each of these

elements and can understand the mythical meaning of the group as a whole.
It

contains in a single project the themes of several earlier compositions.

Woman

Standing

not merely an enlargement of the Standing

is

Woman

on

The Walking Man

of the tree equation of 1950.

his

way, but because of

of reality" he

is

the double of

The Monumental Head

Plaza.

all

Man's

cultural

When
site,

quote of the

Roman

is

not only

the people crossing the

Chase Manhattan

head on a pedestal at once an

Head

of Const antine represents

heritage. 61

Giacometti placed the small model figures on the blueprints of the

he told Gordon Bunshaft, the architect, that they could be put anywhere

on the

He

Plaza.

means

that he

Zurich

later said of his sculptures at his retrospective in

1962 that they could be

left

had resolved the problem of sculptural perspective

style,

upon each sculpture

in

one of the problems he studied anew

of the Squares, 1950,

advance,

the effect of dis-

tance and the imprint of the spectator's point of view. This, in fact,
the magnificent achievements of City Square of 1948,
sides. It is

in

wherever the deliverymen would put them. 62 This

having conferred by means of his

all

forever

"double

contemplating and "seeing" and

artist

Colossal

man

his stylistic treatment as

a sculptured

is

art-work, an allegorical portrait of the

as a formal

and

his life-size

of

women

1947-49, but includes the meaning of the earlier walking and moving

and

The

one of

is

which "works" from

compositions

in the

which he also called The Sand, The Forest and The

Glade. This inherent sculptural perspective would have been the key element
in

making the Chase Manhattan group "work" on

scrapers.

It

would

real people,

also have

because

it

is

made

the

a site

group meaningful

an imaginary,

dominated by skyin its

context with

a spiritual perspective.

That Gia-

cometti, however, carefully arranged the installation of the group at the

Venice Biennale of

1962 and

that his brother

tion at the exhibitions in Paris in 1969,

dict this idea, for the

among all

the other

and

problem was then

works

Diego supervised

Rome
to

in

make

its

installa-

1970 does not

the group meaningful

in these retrospectives.

For several reasons the Chase Manhattan project was not realized.
these

may have been

contra-

artistic:

the commission for the project

came

One

at a

of

mo-

ment, when the theme of a complex composition with several figures was for
the artist "already situated in the past," to quote the

used about Chariot. The

Women

composition together with the Project for a

1956,

(cat.

no. 82).

From 1954

words Giacometti had

of Venice, 1956, are, in fact, the only group

Monument

to a

Famous Man,

on, Giacometti had concentrated on single

standing or seated figures and busts, and mainly on drawing and painting.

And

after the period of transition, 1956-58, a

as of space,

31

had emerged. But

as late as the

new concept of the figure as well

summer of 1965, experimenting

with some

new

painting materials that a painter-friend had prepared for him,

Giacometti sketched, as

were

if it

emblem,

his personal

head

a "seeing"

the foreground looking at the visionary scene of a motionless standing

away and

placed very far

man

walking

crossing the

in

woman

empty space of

Callot-like city square. 63

In sculpture, Giacometti

no longer needed metaphorical compositions

express the mythical

power inherent

Elie Lotar, 1964-65.

They remind

of

The Unnamable

focal point of space

lessly narrates its

of

1953 where

own

Busts of Diego and Busts of

us of Samuel Beckett's novels especially

there

is

and time; an "I" which

nothing but a speaking "I"

relates to

history and myth; an "I"

unless the urge to think

is

in his latest

no myth, unless

whose existence

and speak, draw, paint and model,

Ma

realite. Art, reality

is

it

at the

cease-

pointless

and love

see, care

understood as the force engendering the courage to go on

what Alberto Giacometti expressed

1957,

to

This

living.

is

poetically as his reality in a short text of

and the myth of

Life

became one.

Giacometti as Fainter
Giacometti's personal and unprecedented

way

of seeing things led to a paint-

was

ing style as original as that of his sculpture. Because Giacometti

er's son,

he had to negate

his early training

himself. His painting, consequently, falls into

a paint-

and reinvent the medium for

two main

periods: the relatively

derivative years before 1933-35, an d the epoch of his major paintings after

1935-37. Each period

distinguished by clearly discernible characteristics,

is

the most obvious of which are the use of color and his treatment of pictorial
space.

The

Cuno

evolution of his father Giovanni and his godfather

stylistic

Amiet had been

a reflection of the

development of Impressionism into Post-

Impressionism and Symbolism, Fauvism and Expressionism. Growing up

with

was

young Giacometti understood

this artistic heritage, the

essentially the use of color in

tional

and expressive functions.

its

him

more

a plein-air painter

who had become

subtle brush handling than he

employed. But for several years Giacometti continued to

sionist

composi-

In the winter of 1919-20, his teacher at the

Geneva Academy, David Estoppey,

Divisionist, taught

that painting

structural, representational,

had formerly
Post-Impres-

utilize

arrangements of color planes to create pictorial space, and to model

according to a Cezannean technique of building up volume with a patchwork

of

complementary colors and

highlights.

When

in Paris in

Giacometti arrived

adopted Cubism and

dimensionality

its

1922, painters there had long since

revolutionary means of replacing illusionary three-

in painting,

and the Dada

spirit

was almost

at the point of

transformation into Surrealism. But these movements were of

Giacometti

at this

moment,

since his preoccupation

was

in

more

closely. After 1925,

use to

to achieve

structural solidity in his painting than Divisionism allowed.

studied Cezanne

little

He

more

therefore

he seems to have given up painting

Paris altogether, although he continued to paint portraits and landscapes

when he

returned each year to Stampa. There he experimented with solutions

he had reached

in sculpture, as

between 1927 and 1932

(for

seen in the series of portraits of his father

example,

cat. no. 114)

made

which should be com-

33

fig.

Study,

c.

1935-36. Oil. Private collection,

Switzerland

pared to the various bronze Portraits of the

(cat. nos. 8, 9). In

style, 64

other paintings he

Father of the same period

adhered to the Post-Impressionist

or emulated the elegant academicism of one of his

friends, Christian

Berard. 65

These works leave no doubt about

tions as a genuine painter. Yet he

Cezannean solutions
their

still

Artist's

to the

had

new

Parisian

his qualifica-

failed so far to find original post-

problem of representing imaginary volumes and

surrounding space on the two-dimensional picture plane. This provoked

the transition

from the

Surrealist pictorial

first

to the

second period

space whether

in his painting.

that of Miro's conceptual fields, or

Tanguy's deeply recessed perspectives did not offer him solutions to the

problems he faced

in

painting in the mid-thirties.

alternative, since Giacometti

space.

There

and only

are, to

wanted

Nor was

abstraction a viable

to represent real objects seen in real

our knowledge, no Surrealist paintings by Giacometti,

few Surrealist drawings, together with some poems. 66 As

in the

evolution of his sculpture, studies after nature brought about a radical change
in

Giacometti's painting. But

we know

of only one oil sketch from the years

between 1933 and 1937; a standing nude with

hands close to the
ing

woman on

sculptural project

34

hips,

and

in the

background

a high pedestal, both of

(fig. 6).

67

a strictly frontal pose, the

a painted sculpture of a stand-

which are obviously

studies for a

two masterpieces which contain

In 1937, Giacomctti painted

every problem he was to deal with

reveal, as well, the full
(cat.

no. 115) and

ment

measure of

his capacities as a painter.

Portrait of the Artist's

of subject matter

the germs of

subsequent painterly evolution and

in his

Mother

These are Apple

(cat. no. 116). In the treat-

and brushwork, Giacometti

on Cezanne's

relies

methods. However, the space-concept, the use of grays and beiges as signs for

which

imaginary space and the almost

strict frontality,

picture plane and transcends

by making the figure seem almost to step out

it

of the canvas, are Giacometti's innovations.

It

at

once emphasizes the

would be an exaggeration

Mother seems almost

say that the figure in Portrait of the Artist's

front of the canvas, but a tendency toward this idea, later to

fundamental to

ment

his painting,

volume

He pursued

certainly discernible.

is

The construction

of space as an alternative to Cubism.

relates basically to Giacometti's post-Cubist drawings.

modelled as
left casts a

if

light

were

shadow on

the figure; white paint

on

falling

it

to

to
in

sit

become

this treat-

of the head's

The

figure

is

asymmetrically; 68 the shoulder on the

the background, thus creating an effect of space behind

is

used for highlighting, a technique Giacometti never

completely rejected. But there are also zones of white beside the elbow on
the

which represent neither

left

nor the continuation of the shadow on

light

the wall: they are early indications of Giacometti's use of white and gray as

non-colors to create pictorial space.

lines,

Many

of the vertical

and horizontal

seen also in Apple, have no representational meaning, but are vehicles

to create, as in a drawing, pictorial space.

No

paintings seem to exist from the years 1938 to 1945, the period in

which Giacometti concentrated upon drawing

objects perceived at a distance.

by Yellow Chair

in the

The

Studio

to explore the rendering of

year 1946 brought a

new

start exemplified

no. 118). Chronological subdivisions of

(cat.

Giacometti's subsequent painterly oeuvre can

techniques for creating pictorial space.

now

be proposed, based on his

The suggested

dates of these sub-

divisions should not be understood as absolute limits.

The

real subject of the paintings of

sional matter

1946 to 1949

which has neither substance nor

is

space, this three-dimen-

color,

which

is

a sharply felt

presence, but can only be negatively located between and around the objects
it. The simple subject matter a corner of the studio with
human figure presented at the same level of interest as an inani-

which obstruct
furniture or a

mate object and usually placed

hicle to represent space.

in recessed

These sketchy

space is primarily used

oils are rather like

as a ve-

drawings on canvas,

with accents of colored lines usually on gray or brown backgrounds.

From
a

means

this

point on, Giacometti's grays should be understood primarily as

to indicate both interior

and exterior space, and not

of atmospheric effects or a carrier of

like the

mood. They

as the rendering

are conceptual in quality-

black with which Giacometti drew lines of construction, and the

whites he used to indicate

tip of a nose.

The

lights, highlights

and projecting elements

pervasive aspect of gray, beige and

cometti's painting style at the

same time dematerialized

sculptural style. This use of neutral non-color

is

like the

brown became Giafigures

became

his

accompanied by the non-

representational use of short lines, which sometimes accumulate to form a

web between and

perceiving

crossing objects.

artist's eye, swiftly

The

lines

may

stand for the traces of the

and incessantly moving around the composi-

35

from one object

tion

Similarly, the

measuring the distances between them.

to another,

dark construction

observing objects

lines indicate the act of

rather than defining outlines.

Around 1948, rapid foreshortening of parts of figures or objects became

Giacometti's method of rendering visual perspective. The legs of a seated
person seem too large, and the head, recessed
proportion to the torso. But

we say "too

large"

seems too small

in space,

and "too small" only

in

in

com-

parison to the traditional standards of figure painting and according to our

preconceptions of the objects. In attempting to paint an object receding in

space as the eye actually perceives

Giacometti arrived

camera

lens

it,

mental correction,

free of involuntary

at a "distortion" of

proportions similar to that of the

as seemingly too large. 69

which records foreground objects

became predominant which Giacometti had

In the early fifties a technique

always employed to some extent and which actually can be traced to Hodler.
This was the use of lines parallel to the edges of the canvas to frame the
composition. These border lines delineate the
attention

is

fixed

on the object

artist's field

in the center of this field

of vision

when

his

and help bring the

painted motifs into proper relationship to the size and shape of the support.

The

inner framing

object in
Real,

its

is

thus the mediator between the Imaginary the painted

imaginary space and in

namely the whole painting

true phenomenological size and the

its

as a picture

and

as part of

This mediating function became even more pronounced

transformed the inner framing into

centric borders,

flat

our

when Giacometti

border zones or a multitude of con-

which resemble the actual frame of

importance.
it

If

the image

To

a picture or a mirror.

interpret the painted border as a suggestion of a mirror frame

mirror,

real space.

of

is

paramount

seen as a reflection on the plane surface of a

is

can be presented through traditional means of illusionary pers-

pective without violating the two-dimensionality of the pictorial surface. Gia-

cometti thus created a

new concept

of pictorial space,

which might be

"mirror space." Giacometti's mirror space does not pretend to be

is

called

but

real,

immediately understood as imaginary space. Because he was so absorbed

in

representing objects together with the space which separates them from us,
the most significant result for Giacometti of this mirror concept

was the im-

pression that the figure depicted seemed to be double the normal distance

from the viewer as the distance between

reflected in

is

also reflected

a real object

and the mirror

it

is

and thus doubled. The distance between the

painted figure and viewer cannot be nullified or reduced, since the figure

seems to be located

in the

impenetrable space behind the mirror. Yet the

original of this reflection seems to exist

on our

space seems to be the mirror-image of our

side of the mirror; the pictorial

own

real space, thus providing the

painting with a strong existential link to the viewer.

An

equally important existential link

figures' strictly frontal

found

in

poses and gazes.

is

produced by the impact of the

The precedent

for these devices

is

Symbolist portraiture; they were used in Giovanni Giacometti's

Self Portrait with Segantini's Funeral in the Background, 10 1899, to express

the idea that the artist

Hodler
ing.

definitively

must face

formulated the use of frontality

in

modern

Alberto Giacometti progressed beyond Hodler, finding

for rendering frontal figures,

36

his destiny alone after his master's death.

portrait paint-

new

and conferring new meaning upon

techniques

frontality.

He

brought the subject into an intense and

with the viewer,

real relationship

paralleling cinematic effects to a certain extent. (Giacometti, in fact, often

spoke quite

When

critically of the illusionary quality of film.)

a filmed subject

looks into the camera, his eyes are directly linked to those of the viewer, and
the fiction of the filmed time and place

is

suddenly disrupted: the imaginary

space of the screen seems to become a part of the real space of the room. The
filmed subject

becomes,

invested with the strongly

is

own words,

in Giacometti's

Around 1954,

quality of real presence

felt

and

"a double of reality."

became secondary

the problem of creating pictorial space

With

the representation of the figure as a believable reality.

now painted the figures

He treated the canvas as

new

to

technical

approach, Giacometti

as apparitions rather than as

reflections of reality.

if it

painting
shades.

a magician's cloth,

with nebulous, incorporeal grays, ranging from dark to light

it

Heads or

appeared

were

like

backgrounds.

figures, delineated

with a few black, gray and white strokes,

unexpected magical phenomena out of the center of ambiguous

We know from

accounts of

many models

that Giacometti pro-

duced portraits very quickly, overpainting them with gray and recreating

them

The

several times during a single sitting.

equally accomplished states,

last in a series of

graphs of various stages of evolving works. In a

was more important than

finished
71

documented

as

way

work seems but

in

photo-

the act of painting

the final result. Giacometti's goal

was not

the

itself

to create

ever greater physical likeness in his portraits, but to spontaneously create the

apparition again and again, until

living presence, perceived at

was: "I

am

it

resembled, as nearly as possible, the

one glance, of the model. Giacometti's credo

not attempting likeness but resemblance."

Giacometti's style of the mid-fifties

may be

characterized as the final em-

bodiment of his phenomenological approach to reality.

his paintings of the various

may

lasted until 1958.

it

different

phases of his evolution between 1946 and 1956

them the model was treated

be, in all of

visual perception of

However

at a given distance. In

as a function of the artist's

1956 a

crisis

ensued which

seems to have been triggered by problems he experienced

It

while painting portraits of his Japanese friend Isaku Yanaihara. His oriental
features called for at least a basic likeness
tity

which would not be

entirely

and for

a degree of personal iden-

dependent on the

artist's

perception. Faced

with Yanaihara's exotic physiognomy, Giacometti realized that the

reality resided in himself rather

than in the

concept of him as an

artist's

apparition. Typically for Giacometti, this problem led

entire direction of his painting

and brought forth

sitter's

him

to reconsider the

a revision of his concept of

pictorial space.

The

series of portraits of

example

Yanaihara painted between 1956 and 1961,

cat. no. 137) reveal the

the bronzes, the painted figures

The head

is

seem more

presented as a sphere

rarely coincide with

given even

development of Giacometti's

its

solid; the

made up

outlines or features.

more emphasis;

last style.

(for

As

in

images more structured.

of curved lines, which, however,

The

eyes,

the model's gaze, in fact,

is

always important, are

now

the subject matter

of the painting. Giacometti realized that the entire person participates in the
act of staring.

It is

not the anatomical description of the eye, but the coher-

ence of the complete face which confers upon the figure the force of a gaze
this living

proof of the model's active existence. The gaze

itself

cannot be

37

more or

painted, but there, where the circling lines

less leave the

canvas un-

touched, the magical transformation of material painting into the immaterial

presence of the gaze takes place.

The

figures

and half-figures of

richer in color than

and

plastic

works

through

spatial credibility

into depth, strong highlighting

The

for the darker parts.

period are often mere sketches,

this last

of the preceding years. Giacometti created their

a

combination of curved

and modelling with

pictorial space

is

a concentration of lines

characterized by superimposed

zones of beiges, grays and whites, which sometimes give the

The head

encircling the entire figure.

make
is

hands on the lap and the knees

the head recede even further.

effect of a

of a frontally seated

from the viewer than the body is

distant

torso, the

From

lines leading

drastically reduced in size

in the

halo

model more
and the

foreground act as props to

head an

this distant

insistent stare

projected towards the viewer.

The

intensity of the model's gaze together with

its

frontality, confer

upon

Giacometti's late portraits the spiritual power of a sacred image. Giacometti's

ultimate achievement as a painter consists in the treatment of a portrait as a

from Cezanne.

secular icon. In this respect he differs greatly

Caroline, 1962-1965,

may

Portrait of

Madame Cezanne 72

share with a Portrait of

the

general compositional arrangement, the half-figure pose, though Cezanne's

models are never

strictly frontal. In

both paintings the oval curves formed by

the arms lead from the foreground into the middleground. These similarities

may

not be completely fortuitous/ 3 but the effect

had

Madame Cezanne

is

very different. Cezanne

pose for him to allow him to make a good painting,

complete and satisfying

formal qualities and

in its

in its representation of the

models features and personality. Giacometti, on the other hand, used

means of

his artistic

medium

to give

back to the model

He made

create a spiritual double of Caroline.

Madame
them

the

unique presence: to

of Caroline a sanctified

Cezanne.

Giacometti's late paintings are

in

its

all

are

combined the

among

the masterpieces of

modern

art, for

qualities of all great painting: the abstract beauty

of painterly means, unceasing intensity of execution and, above

all,

the in-

exhaustible spirituality of the subject.

Giacometti as Draftsman

As

a boy,

Alberto Giacometti thought of his pencil as his weapon.

pride in the fact that he could

it

better than

anybody

his superior talent for

among

status

economy

else.

painter's son

growing up

He took

that he could

do

in a farmers' village,

drawing provided him with self-assurance and special

his peers.

of means,

draw absolutely anything and

He drew

after nature

and passionately copied

with great

skill

and surprising

Diirer's engravings

and Rem-

brandt's etchings in the minutest detail. At the age of ten, he even signed

some

of his drawings with an arrangement of his initials

Diirer's

of

him

The

monogram. His intimate and

for the rest of his

thick or thin lines.

borrowed from

drawing was part

life.

style of Self Portrait (cat. no.

which impresses us

38

special relationship to

151),

done

at the age of seventeen,

in its maturity, reflects his father's

The young Giacometti

also

use of hatching with

adopted Hodler's practice of

rendering objects with an accumulation of delicately suggested lines rather

than simple outlines, thus creating a feeling of volume without definite de-

He

marcations.

During

began

also

his studies in Paris,

in arriving at correct

The

not render the appearance of

1925 but used

it

again

in of the object

reality.

in his facility

key points of shapes

at

volumes into planes or

straight lines to divide

boxing

effect of this

his motifs.

Giacometti surpassed his friends

proportions by placing marks

and connecting them with

facets.

draw inner frames around

to

rather academic and does

is

He abandoned

technique around

this

T935-36, to prevent his heads from dissolving as he

in

studied them.

From approximately 193 1 Giacometti

styles. In Paris, when sketching the themes

two

cultivated

drawing

different

of his Surrealist sculptures or con-

tributing to Surrealist publications, he preferred a lean outline, like Picasso's

or Masson's. In Stampa, however, he began to explore the phenomenological

rendering of objects

in front of

him, a process revealed

dote Giacometti told David Sylvester.

the distance normal for

still-life

He was

anec-

in a significant

copying pears on a table from

drawing, yet the pears came out extremely

small in the middle of the sheet of paper. His father grew angry and said:
" 'But start doing

them

as they are, as

you

see them.'

Half an hour

they were exactly the same size to the millimeter as the previous ones."

Very small heads

in the center of a sheet are also characteristic of

cometti's drawings of the later forties.

the paper, as they

would

identification of the

if

They do not

tall,

artist's field

dematerialized with blurred

more

of vision.

show

often

lines, as

if

the

tial

may be characterized

as

drawing

to Giacometti's stylistic evolution, but,

his perception.

Making copies

of art

in space.

his

as

which con-

Drawing was thus

more than

works was

model

out of focus; these are

the studies that led Giacometti to his post-War sculptural style,

sequently

Gia-

indicate a partial use of

they were traditional sketches, but result from the

whole sheet with the

Figure drawings of 1945-46, however,

extremely

later

74

that,

way

it

was

essen-

essential to

of reading and under-

way

standing them. Drawing incessantly from nature was his

of relating to,

and recreating the objects of his perception.

Many

drawings of the mid-fifties give the impression that the

traces of the

moving

eye, rather than outlines.

eraser, Giacometti created

smudged gray

tours, creating an effect of immateriality

lines are

With the calculated use

but

of the

areas outside or within the con-

and space surrounding the

objects.

Erasures in the eyes of a portrait head also served to confer on his drawings
the appearance of
at

life in

the gaze.

The untouched

once as neutral support for the drawing and

the subject and

its

areas of the paper function

as the

imaginary substance of

surrounding space a characteristic, of course, of

all

great

draftsmanship. Later drawings excell in a rhythmic and almost abstract use of

oval curves which surround, rather than delineate the motifs, a technique

again reminiscent of Hodler, and especially of Cezanne. In his very last

years, Giacometti's swift, uninhibited
calls

Toulouse-Lautrec's. But the drawings of the

above
ity

and caricature-like drawing

all,

Giacometti's distinctive and unique style

and beauty. They are meant

such, are widely appreciated.

ings in Paris

and Stampa:

as art

The

two decades

last

in their

works complete

in

still lifes,

landscapes.

reveal,

graphic complex-

themselves and, as

motifs are taken from the

interiors,

style re-

artist's

surround-

surprisingly great

39

number

depict Giacometti's sculptural

works not only because they were

He

objects in his studios, but as one of the essential themes in his drawing.

also incessantly filled scraps of paper with sketches of his sculptural motifs,
his

models drawn from memory and accounts of

heads.

The most comprehensive

representation of his studio

view on two sheets of paper made

gift for the

procedures for rendering

his

in

1932

(cat.

is

the panoramic

no. 164). These drawings, a

Countess Visconti, contain minute descriptions of each piece she

had seen during

the studio,

visits to

on the bottom of the

larger

which according

sheet, "to my

to the dedication line

you did not

great pleasure

find

distasteful."

Giacometti drew other notable "inventories" of

his sculpture

and studio

for the catalogues of his exhibitions at the Pierre Matisse Gallery in 1948

and 1950, and

Maeght

who

Giacometti,

and

at

in

195 1, the latter drawn on transfer paper.

constantly destroyed

ceaselessly evolved

as

It is

if

what he had modelled and painted

towards new visions and goals, used drawing to pre-

serve his achievement and confer unity

upon

and work.

his life

Giacometti as Printmaker
Giacometti's graphic oeuvre

medium

pied with the print

is

considerable, although he

itself.

Like so

many

other

was not preoccuartists,

he learned

etching in the studio of Stanley William Hayter, the British printmaker work-

made three etchings each

of not more than three after three of

ing in Paris. There, in 1933 and 1934, Giacometti

as

unique

artist's

Cubist Head, The Invisible Object and Table. 75 Other prints

his sculptures:

were made
dans

proofs or in an edition

as illustrations for the original editions of

le plat,

1933 (one engraving) and Andre Breton's L 'Air de

(four etchings 76 ).
prints

Rene Crevel's Les Pieds

The

linear execution

and

I'eau,

1934

Surrealist imagination of these

were much influenced by Andre Masson's

illustrative

drawings. In

1935, Giacometti contributed an etching for one of the most important avant-

garde print portfolios of

this period,

Giacometti combined some

Anatole Jakovski's 23 Gravures. In

it,

of the symbolic forms of his sculptures of

1930-33. 77

No etchings seem to have been produced between

artist

was asked

to illustrate

Loeb's Regards sur

subjects

peinture?

la

drawn from

Georges

his

9.

1936 and 1947, when the

Bataille's Histoires des rats

and Pierre

His prints were independent works with

surroundings

(his studio)

and current motifs. An

uninterrupted series of etchings and lithographs followed, published as

illustrations

and hors-text

suites in art periodicals, exhibition catalogues

and

literary publications.

From 195 1
outnumbered

made with

on, the lithographs, conceived as individual prints, greatly

the etchings.

The

original drawings for these lithographs

lithograph crayon on

transfer paper rather than

on

were

stone. Using a

technique which did not allow for erasures was a challenge for Giacometti.

However,
ties

his

primary concern was not with the unique demands and quali-

of the print

filled

medium, but the presentation of his

matter his studio

with sculptures, interiors with his wife and brother, and the familiar

rooms and landscapes

were actually more

40

subject

of Stampa. Other artists like Picasso

sensitive to the print

medium than

and Rouault

Giacometti.

which

Yet, during his last years, Giacometti executed a print series

vealed his technical mastery of the medium. This series

sans

without End)

fin (Paris

1957 and published

in

no. 217)

(cat.

an edition of 250

and

portfolio consists of 150 lithographs

The

was

text

supposed to

originally

remained to be

by the

artist.

In the

it

it

the appearance

to the point

where nothing

seemingly

as deliberate a stylistic decision as the

is

selection of views of Paris. Giacometti chose scenes of Paris that

intimately connected with his

neighborhood

his

street,

which gives

had brought

fragmentary character and spontaneous and osten-

said. Its

sibly unselective content

random

and

life there: his living quarters

docks Paris without

Some

end.

views through restaurant windows demonstrate an interesting use of

The

and animate exterior and

portfolio

at a time.

was often

left

my

bed which have

abandoned two years ago;

tried to take

repeat them? Paris for

weeks or months

in

scope and meaning,

to be

redone for the book

me

is

only

up some motifs as before:

them any more. Where and how could

street scenes, interiors 1 don't like

1

in the studio for

He wrote:

There are 30 lithographs on

that

of the

letters to

interior space.

untouched

During these months, the project changed

as the artist himself changed.

were

his studio, his

Montparnasse, friends and acquaintances,

cafe,

erotic scenes, exhibition halls, parks,

distinguish

in

The

between 16 and 20 pages.

finished book, however, six pages are left blank,

of a fragment, although Giacometti

Teriade

E.

re-

Paris

after Giacometti's death.

a very personal text

fill

album

the

commissioned by

1969

in

is

The attempt

this:

to

understand a

"I

could as well copy

little

better the origin of the nose in a sculpture."

These new feelings threatened the whole undertaking:

the back of the chair here, right in front of

As

in his paintings

Giacometti hints

and sculpture

me

."
.

after 1958, a

in his text that there

is

also a

new spatial concept emerged.

new time concept. The quote

continues:
.

or the

little

alarm clock, black and round on the table which

does not actually

fill

inates everything

one

side,

where

which

in

the room, but which

sees, the

windows

the blackbird sings early at

June of

last year,

is

like a spot

fills no,

from which

it

orig-

as well as the ceiling, the tree out-

dawn, or

1963, was for

me

just before

dawn a

song

the greatest joy of the day, of

the night ....

Thus we

see that everything radiates

the focus of the artist's attention.

for

from the alarm clock, once

It is

it

has become

the focal point of both space

and time,

everything the experience of both the interior and the courtyard, as well

as of both the present time

from

and the remembrance of times past springs

it.

Paris sans fin, together with the busts of Annette of

and

Elie Lotar of

forms Giacometti's
the last time

artistic

on December

i960 to 1964, Diego

and personal testament. Giacometti

5,

1965.

January 11, 1966. Shortly before

lines as the last

c.

1964 and 1965, and the paintings of Caroline of

He was

to die in

his last departure,

paragraph of Paris sans

this period,

left

Paris for

Chur, Switzerland on

he wrote these evocative

fin:

41

The

silence,

I'm alone here, outside the night, nothing moves and sleep

takes over again.

don't

would like

don't

to do,

know who 1 am, nor what I'm doing, nor what I

know if I'm old or young, maybe I still have some

hundred thousand years

to live until

my

death,

my

past sinks in a gray

abyss ....
In

1932 almost

in the

middle of

his life he

had written metaphorically

of his existence as a fragile palace

which he

sticks. 79

he concluded with these words:

Now,

at the

end of

his

life,

built

and

rebuilt with
".

match.

and

those matchsticks dispersed on the floor, isolated here and there, like battleships

on the gray ocean."

Reinhold Hohl

42.

The author wishes to acknowledge

how much he profited in his Giaco-

who

is

Archive, Mrs. Lydia

cur-

Gainesville, Florida,

who is preparing

various apocryphal accounts. See

on Giacometti's sculpture 1925-1935 for The Johns Hopkins

also the chronologies by

Mauner in

University, Baltimore.

References which appear in the

in the 1950 Pierre

Matisse Gallery catalogue unfor-

tunately does not

Giacometti spoke about the imposever arriving at his goal in

Kessler, Conversa-

tion with Alberto Giacometti,

Swiss Television, Lugano, 1964;

partially reprinted in Giorgio Soavi,
"II

Sogno

vol.
2

Ill,

una

di

testa,"

Playmen,

Rome, January 1969,

p. 153.

Information about Giacometti's

Chase Manhattan project from a

conversation with Gordon Bunshaft, New York, June 1973.

12

A discussion
this

about the formation of

compositional idea follows in

the chapter

"Some Continuing

Compositional Ideas

in the Sculp-

ture," especially pp. 29 to 33.

4 Lord, L'Oeil, 1966, p. 67.

make

a clear

between the two texts.

What seems to have been the first
text begins with the second paragraph of p. 5 and continues on pp.
6 and 9; the French original, accompanied by sketches, is on pp. 8,
10, 12, 14, 16, 18, 20, 24. "Today's
letter" translated is on p. 3 and
first paragraph of p. 5.
distinction

interviews after i960. See for

Ludy

of

State

10 The translation

abbreviated form.

instance:

Museum

The Pennsylvania

University, 1973, pp. 79, 128.

selected bibliography are given in

many

George

the exhibition catalogue

Three Swiss Painters,

Art,

sibility of

Thalmann-

9 According to the most pointed of

a Ph.D. thesis

Giovanni

Amiet, Oschwand, Switzerland.

rently writing a biography of Alberto

Giacometti, and Michael Brenson,

letters of

Cuno Amiet, January

30 and March 14, 1920. Cuno Amiet

metti studies from conversations

with James Lord, Paris,

Unpublished

Giacometti to

Minotaure, 1933.

"A propos

de Jacques Callot,"

Labyrinthe, 1945.
13

James Lord, "Scarnificava

materia per cercare

uomo,"

il

la

segreto dell'

Bolaffiarte, vol. IV, no. 29,

Turin, April-May 1973, p. 56. In

this context see also Giacometti's

remarks about drawing

a glass as

reported by Sylvester, Tate Gallery,

1965, last page of the essay.

Communication to the author from

Gordon Bunshaft; also James Lord,
see note 4, and Hess, Art News,
1966.

14 Carluccio, Alberto Giacometti,

Sketchbook of Interpretative
Drawings, 1968, p. IX.
15 Clay, Realites, April 1964.

6 In a conversation with Ernst

Beyeler, Basel,

November

1965;
verbal communication to the author

from Mr. Beyeler.

7 See facsimile reproduction in the
1948 Pierre Matisse Gallery catalogue, p. 31.

16 Le Reve,

le

sphinx

17 Unpublished

Cuno Amiet

et la

letter of

mort de T.

March

1915.

Archive, Mrs. Lydia

Thalmann-Amiet, Oschwand,
Switzerland.
18 See note

1.

43

19 This quality

is

already visible in the

post-Cubist Torso: the groove on

the back indicating the spine

not be found

in a

or Lipchitz, but

would

work by Laurens

common

is

in

primitive carvings. Giacometti re-

1934 on the back of the

almost abstract tombstone of his
own father in the cemetery of S.
peated

it

Giorgio

in

di

Borgonovo.

20 In his series of sketches Objets

mobiles

drawing in space, Giacometti's

Three Figures Outdoors has the
sculptural and emotional qualities
of the grill-like Ivory Coast Senufo

for the relationship

dancer's headdresses. Giacometti's

Colin Smith, London, Routledge &c

Suspended Ball, 1930, extends

Calder's Motorized Mobile into the
three-dimensional space frame of a
cage; the shape of the ball and the
crescent were inspired by Picasso's
drawing Project for a Monument,

Kegan

28 Photographs of the plasters in cat-

1928, Private Collection.

29 In formal analysis of

193 1, Giacometti,

et tnuets,

some

in fact, translated

23 Point to the Eye, 1932

of the

"characters" in Miro's Harlequin's

Carnival, 1924-2.5, Collection

The

Albright-Knox Art Gallery, Buffalo,

N.Y., into projects for wire sculp-

where

of the nose

eye which

is

when

standing

Sculpture, London, Arts Council,

Hayward

Gallery, July 20-Septem-

ber 23, 1973, exhibition catalogue.

See also Jack Burnham, Beyond

Modern

Sculpture,

New York,

Braziller, 1968, third printing 1973.

22

An interesting comparison can be

made with Calder's wire construcMotorized Mobile, 1929,
Collection The Hirshhorn Museum
and Sculpture Garden, Smithsonian
Institution, Washington, D.C.
Whereas Calder's work is like a
tion

fig.

It

and the

Head of a Man

Guernica, 1937

head

Red Bull's
Head, 1938, both Collection The
Museum of Modern Art, New York,
with

the latter a painting for

tions.

which

Picasso borrowed the overall com-

Documents

position and the polyhedron from

34, June

Giacometti's Table, 1933.

1934-

that the

25 Series of models at the Val de

Grace Museum,

We think

meaning of Head of a

on a Rod

is

Man

illuminated by a discus-

Paris.

26 Circle, International Survey of Constructive Art, Ed. J. L. Martin, B.

Nicholson, N. Gabo, London, 1937.

Reprinted, New York, Praeger,
I97i.pl- !7, P-2-97-

27 In the same period, the French

philosopher Maurice Merleau-

Ponty undertook similar phenomenological studies about perception;

7 Point to the Eye. 1931. Collection E. Teriade, Paris.

miroir, no.

stalk carrying a bull's

in Picasso's Still Life

Surrealistic model-situa-

24 Andre Breton,

le

relates to the expressive silhou-

ettes in Picasso's

work

tions to real Existential confronta-

Modern
of Modern

Derriere

namely New Hebrides human

skulls, which were covered with
wax, chalk and seashells and
painted as well as to modern art.

theme demonstrates

modern sculpture

see Albert Elsen,

insert,

thirties refer to Oceanic works,

own

from the

"Pioneers and Premises of

Paul, 1962, 1967, pp.

cometti's sculptures of the early

in front

the evolution of Giacometti's

by

39-40, Paris, June, 1951.

of the sculpture. This development

dis-

of vision
of Percep-

on a Rod, one must as for Gia-

cussion of the problem of bases in

Sculpture," Pioneers

alogue

the viewer's

Phenomenology

259-261.

threatened by the point

of a sculptural

44

it is

between apfield

tion, 1945, English translation

mounted on the same platformis in the same way a prefiguration of The Nose, 1947 (cat.

which he simply proposed

on a table-like platform.

documented

see his

skull

no. 51),

21 For a thoroughly

(fig. 7)

parent size and the

pointed cone directed to a modelled

turesnot unlike Calder's wire

constructions of around 1930
to place

sion of these formal origins.

30 Carola Giedion-Welcker, "Alberto

Giacometti's Vision der Realitat,"

Werk, Winterthur, 1959, pp. 205

3

Sylvester,

ff.

The Sunday Times

Magazine, July 1965.

32 Giacometti constantly used the term
"double of reality" and the formula
"not likeness, but resemblance"

See for instance

in his later years.

with Jean-Luc

his conversation

branch next to a chalice; above

is the sun, above the

bird a star.

Giacometti," Journal de Geneve,

8,

the chalice

Daval, "Fou de Realite: Alberto

June

on

42 Lord,

Giacometti Portrait, 1965,

1963.
p. 49.

33 Radio interview with Georges

Charbonnier, Paris, R.T.F., March

3, 195 1 reprinted in Charbonnier,
;

he monologue du

peintre, Paris,

many

other conversations, the last

one with Jacques Dupin in the film

Alberto Giacometti by Scheidegger
and Miinger, 1966.

London, 1947; reprinted,

show

sketch of 1947 do not

self portrait,

physiognomical and

141,

cit., p.

New

York, Praeger, i97i,p. 94, pi. 18.

This photograph and Giacometti's
engraved

34 Luigi Carluccio, op.

the

which, for

stylistic rea-

35 Such interpretations (by Jacques

Dupin and Palma Buccarelli) were
refuted by Kramer, Arts Magazine,

November

1963.

"E morto

lo scultore

cometti," L'Unitd,
13, 1966.

Also

Alberto Gia-

Rome, January

in a later

tion with Lake,

44 Erwin Panofsky, Albrecht Diirer,

Princeton University Press, 194S,
vol.

I,

The

conversa-

Atlantic,

37 Conversation with Grazia Livi,

"Interroghiamo gli artisti del nostro

Column; compare

the female bust

with Leger's watercolor

Woman

mortar with pestle, with

Leger's Three Women, 1921, Colas the

mondo

Art,

Giacometti,"

The Museum

of

Modern

New York. Bust and braid-like

Epoca, no. 643, Milan, January 20,

table leg refer also to Laurens'

1963, PP- 58-61.

sculptures.

The most important

source for the table, the contrasting

38 See 1948 Pierre Matisse Gallery
catalogue, p. 28

(ill.

and the human hand, was,

however, Magritte's painting The
legs

drawing

Tightrope Walker) and p. 40 (ill.

now destroyed plaster Night).
39

Femme dans une barque,

1950,

Bronze, Private Collection, Paris.

Orangerie des Tuileries,

Alberto Giacometti, 1969-70, ex-

Difficult Passage, 1926, Private

Collection, Brussels.

ill.

p.

71

(dated 1950-52).

40 Photograph by Man Ray reproduced, Cahiers d 'Art, Paris, T932,

p. 341,

with caption Chute d'un

corps sur un graphique (Fall of a

Body onto

Giacometti

Diagram); sketched by

in the

1947 letter to
and titled Espece de
paysagetete couchee (Sort of a

41

49 Plaster, Musee Rodin, Paris.

50 Reproduced in he Surrealisme au
service de la revolution, December
193 1, pp. 18-19; Brassai's photo-

graph reproduced

in

Minotaure,

no. 3-4, Paris, 1933, p. 47

51 According to Giacometti's 1947

letter to Pierre Matisse.

52 Tanguy used similar elements

in his

Hersent Collection, Meudon; see

Kay Sage Tanguy, Yves Tanguy. A

the traditional Christian

metaphor

for the expectation of Eternal Life,

sculpted in delicate

relief: a

bird

p. 94;

54 Communication to the author from

Dr. Carlo Huber, Basel.
55 Proceeding from this premise, the
obligatory comparison with Rodin's

Burghers of Calais, 1886, necessarily leads to a different conclusion

than Albert Elsen's

York, The

Modern

in his

Museum

Rodin,
of

Art, 1963, pp. 86-87. Ex-

ecuted as a

monument

in life-size

a public square,

to Paul Gsell, that

had been
one behind the

one of

his original plans

"to

my statues

fix

other on the stones of the Place,

Town Hall of Calais

before the

[so that] the

people of Calais of

today, almost elbowing them,

would have

felt

more deeply
which

tradition of solidarity

the
unites

them to these heroes." (Rodin, On

Art and Artists, New York, Philosophical Library, 1957, pp. 103104.) It is very likely that Gia-

much more aware

works than one will
ever be able to document. Parallels
in the works of both artists differ
cometti was
of Rodin's

dimension: Rodin's
historical

and

is

literary,

more often
Giacometti's

56 Conversation with Jean-Raoul

Moulin, quoted
"Giacometti:

in J.-R.

Moulin,
pour

'Je travaille

mieux

voir'," Les lettres francaises,

no.

15, Paris,

1 1

January 20, 1968,

p. 17.

Landscape Reclining Head).

Giacometti had used

York, Wittenborn, 1955,

revised edition i960, p. 104.

f.

painting Genesis, 192.6, Claude

father, 1934,

in

philosophical and mythical.

Pierre Matisse

On the tombstone for his own

reproduced

essentially in their iconographical

48 See reproduction in Dupin, Alberto

Giacometti, 1962, pp. 214-215.

Paris,

hibition catalogue, no. 72,

New

Rodin confided
47 Compare one of the front legs with
Brancusi's theme The Endless

lection

is

would be very much like The

Burghers of Calais, about which

46 Bloch Catalogue no. 178.

tempo: Che cosa ne pensano del

d'oggi

Maindron,

and without the

base, Giacometti's City Square

and Table, 1920, Private Collection,

Germany, and the woman, as well

September 1965, pp. 121-122.

Woman,

her book Contemporary Sculpture:

on

pp. 156-171.

45 Bloch Catalogue no. 170.

36 Conversations with Italian journalists, quoted by Mario de Micheli,

lyte

New

sons, can be dated 1936-38.

pi. 52.

Standing

42 (with caption Nocturnal

Pavilion); reprinted in Circle,

Juillard, 1959, pp. 159-170. Also in

tall

1948, placed at Giacometti's request

on the sidewalk of the rue Hippo-

An Evolution in Volume and Space,

43 Photograph of Cube with original

base, Minotaure, no. 5, Paris, 1934,
p.

Zurich; a

57 Conversation with Pierre Schneider,

quoted in P. Schneider, " 'Ma

longue marche' par Alberto Giacometti," L' Express, no. 521, Paris,

June

8,

1961, pp. 48-50.

Summary of His Works, New York,

58 See note 56.

Pierre Matisse, 1963, pi. 26.

59 See note

53 Photographs made by Giacometti's

friend Charles Ducloz in the archive
of Mrs. Carola Giedion-Welcker,

2.

60 Sigfried Giedion, "Alberto Giacometti,"

Neue

Ziircher Zeitung,

January 16, 1966.

45

61

The

colossal head of a giant bronze

Emperor Constantine

statue of the

67 Private Collection, Switzerland.

The model for this oil seems to be

i960 was

or shortly before,

enormous

political

of

and cultural

The head,

significance for the city.

to

on the

site

become the Piazza

Cezanne's art that Giacometti chal-

frontality, perpendicular light-

Georges Charbonnier's radio

source, interior walls and open

view, Paris, R.T.F., April 16, 1957,

published as "[Deuxieme] Entre-

as well as the

which was

Cam-

del

which allows the tentative dating of

1935 or 1936. Such elements as

lenged in his painting. See especially

doors parallel to the picture plane,

placed on a marble pedestal, stood

for centuries

abounded in remarks about Cezanne, and one may say that it was

Rita Gueffier, an identification

since 1594 at the Conservatori

Museum on the Capitole where
Giacometti saw it on a trip to Rome
in,

73 Giacometti's conversations

ambiguous treatment

tien avec Alberto Giacometti," G.

of outlines, have precedents in

Charbonnier, Le Monologue du

Ferdinand Hodler's

peintre, Paris, Juillard, 1959,

later painting.

pidoglio, amidst other sculptural

fragments, where people constantly

pp. 171-183.

68

The author gratefully acknowledges

moved. Whether Giacometti knew

about the public site is not important; what is significant, is the striking parallel of the meaningful urban
situation which he intended to
create on the Chase Manhattan

that he began to investigate the

problem of Cubism and frontality

published essay "Frontality and

tary Biography" in

Plaza.

Cubism

paintings as an adaptation of,

on Giacometti, New York, 1972,

But since not one of the
many surviving drawings done before 1925 shows traces of this
phenomenological rendering, we

rather than an alternative to

discuss

Cubism.

later period.

in

74 Sylvester, Tate Gallery, 1965. As

told by Giacometti to Mr. Sylvester,

Giacometti's portrait-painting

Silver,

New
in

62 Verbal communication to the

author from Bruno Giacometti,

artist

Giacometti's Painting

New York)

63 Collection Dr. Paolo Cadorin, Basel.

64 Examples are: Partner's Wife from

193 1, Collection Josef Miiller,

Solothurn; color reproduction on
cover of Der Schweizerische
Beobachter, no.

4, Basel,

1970.

65 For instance: Portrait of Renato

Stampa, 1932, Collection Prof. R.

Stampa, Chur.

When

Giacometti followed the

Surrealist practice of reshaping

traditional paintings into

Dada and

69

The Mannerists

of the sixteenth

tions

and dramatic depth using

"paranoid" readings of post-

card views), he did so as a sculptor

rather than a painter.

He

translated

Duchamp's The Passage from the

Virgin to the Bride into the plaster

model Project for a Passageivay,

1930-31, Collection

The Alberto

Island of

Dead into

the stage

construction Palace at 4 a.m., 1932,

Collection The Museum of Modern
Art,

New York, or Magritte's The

Difficult Passage into Table, 1933,

(cat.

46

no. 31).

A painting by Giovanni

family

room drawing

a plate

Kohler catalogue no. 421).

Red Vest his seemingly too long

arm reaching from the middle-

75 Verbal communication to the

author from Michael Brenson after

ground into the foreground is perhaps the most famous modern

example of this representational
device, and one Giacometti often
spoke of; see for instance Carlton
Lake, "The

Wisdom

70 Musee d'Art

his interview

Geneva.

71 Yanaihara, Derriere le miroir, 1961;

Graphics and 15 Drawings, lists

Cubist Head (L. 56, pi. 92) and

Hands Holding a Void

76 Lust,

ibid., L.

76-79,

77 Lust,

ibid., L.

80

A Giacometti Portrait, 1965,

reproduces twelve of the sixteen
James Lord,

(L. 57,

pl-93)-

pi.

(as no.

of no. 8 in the album),

Lord,

states of Portrait of

W.

in his

Giacometti: The Complete

of Giacometti,"

et d'Histoire,

with Stanley

Hayter. Herbert Lust,

78 Lust,

ibid., L.

81-83,

112.

7 instead

pi.

p'-

113.

ri 4)

1964; Dupin, Alberto Giacometti,

1962, reproduces four states of

L. 85-91, pi. 115 (with the date

Head

berts gives the date of execution,

of publication, 1950;

of Diego, 1957.

Giacometti Foundation, and Boecklin's

here in the context of a

of fruit (Giacometti Estate, Zurich;

this

1965, p. 123.

Dali's

it

approach. Cezanne's Boy with a

Chirico's interpretations of Boeck-

Duchamp's Mona Lisa variaMiro's Dutch Interior and

in the

century had created strange distor-

The Atlantic, Boston, September

tion,

It

"Documenmy monograph

in the

p. 231.

presents Giacometti's

Surrealist expressions (such as de

lin,

the

nineteen.

Giacometti of 1931 shows Alberto

Bregaglia, 1928, Private Collection,

Lugano. Landscape near Stampa,

was eighteen or

was so described

Schapiro, Columbia University,

Zurich.

when

the incident took place

with Jonathan
York, who in his un-

after a conversation

1947-1951" (suggested by Meyer

66

inter-

72 For instance

1947, in his exhibition catalogue

Alberto Giacometti. Dessins,

Madame Cezanne in

the Conservatory, Venturi, no. 569

or Madame Cezanne in a Red Dress,

Venturi, no. 570, both

at the

Art,

Metropolitan

New York.

c.

Edwin Engel-

Estampes, Livres

illustres,

Geneva,

1967, p. 51, nos. 26-29).

1890, both

Museum

of

79

Commentary on
see note 11.

Palace at 4 a.m.;

Works

in the

Exhibition

Sculpture
Torso (Torse).

192.5

10% x 7V2"
x 24.5 x 23 cm.)

Bronze, 22V4 x
(56.5

Collection

The Alberto Giacometti

Foundation, Relinquished from

Kunsthaus Zurich
Cast no. 5/6
Inscribed: base back

Giacometti 1925"

48

"5/6 Alberto

Litte
(Petit

Man
bomme accroupi).

Crouching

Bronze,

1926

x 6% x 4"
x 10 cm.)

1 1 Va

(28.5 x 17.5

Collection

The Alberto Giacometti

Foundation, Gift of the

artist

Inscribed: base left side "A. Gia-

cometti; base front "192.6"; base back

right

Spoon

Woman

"M Pastori Cire perdue"

(Femme-cuiller). 1926

Bronze, 57V& x 20V2 x 9 7/s"

(145 x 52 x 25 cm.)
Collection

The Alberto Giacometti

Foundation
Cast no. 1/6
Inscribed: base right "A. Giacometti

1/6"; middle plate back "Alberto

Giacometti 1/6"; base left "Susse

Fondeur Paris"

49

Woman)
(Homme et femme)).

Couple (Man and

(Le Couple

1926

Cubist Composition (Man)

(Composition cubiste (Homme)). 1926

Bronze, z3 5/s x 14 V2 x jVs"

Bronze, 25 lU" h.

(60 x 37 x 18 cm.)

The Ratner Family

Collection

The Alberto Giacometti

Foundation

(h.

64 cm.)

Collection, Ft. Lee,

New Jersey
Cast no. 1/6

Cast no. 1/6

Inscribed: plinth right side

"1/6

Inscribed: plinth back right "A. Giaco-

Alberto Giacometti"; plinth back

metti 1/6"; plinth back

"Cire C. Valsuani perdue"

Fondeur Paris"

50

left

"Susse

Personages (Personnages). 1926-27

Portrait of the Artist's

Bronze, 10V4 x y 7/s x 5 7/s"

(26 x 20 x 15 cm.)

de

Collection

The Alberto Giacometti

Foundation
Inscribed: base front left

Cire perdue"

la

mere de

Valsuani

(Portrait

1927

Bronze, i2 3/4 x 9 x 4V2"

(32.5 x 23 x 11 cm.)
Collection

"C

Mother

I' artiste).

The Alberto Giacometti

Foundation
Inscribed: base front "1927"; base

back "Alberto Giacometti"; base

"M Pastori Cire perdue"

left

side

5i

Portrait of the Artist's Father (Portrait

du pere de

I' artiste).

1927

nVs x 8V4 x 9"

x 21 x 23 cm.)

Bronze,
(28.5

Collection

The Alberto Giacometti

Foundation, Gift of the

artist

Cast no. 1/6

Inscribed: back left

"M Pastori Cire

perdue"

10
Sculpture (Sculpture). 1927
Plaster,

12V2"

Collection

h. (h.

32 cm.)

The Philadelphia Museum

of Art, A. E. Gallatin Collection

Inscribed: upper back right vertically

"Alberto Giacometti Paris 1927"

52-

Portrait of the Artist's Father (Portrait

du pere de
Bronze,

I' artiste,

10% x

plat et grave). 1927

8V2 x

5%"

(27.5 x 21.5 x 13.5 cm.)

Collection

The Alberto Giacometti

Foundation
Inscribed:

bottom

left

"M Pastori Cire

perdue"

53

Composition (Man and Woman)

(Composition (Homme et femme)).
192.7

Bronze, i5 3/4 x i4 3/4 x 5"

(40 x 37.5 x 13 cm.)

The Ratner Family

Collection, Ft. Lee,

New Jersey
Cast no. 1/6
Inscribed: left side

and

right side "Cire

Pastori Cerdue"; back "Giacometti

1/6"

12

Observing Head (Tete qui regarde).

19x7-28
Bronze, 15V2 x 14 x 2V2"
(39-5

x 35-5 X6.5 cm.)

Collection

The Alberto Giacometti

Foundation
Cast no. 3/6
Inscribed: plinth front left "Alberto

Giacometti 3/6"; plinth back

"Susse fondeur Paris"

54

left

13

Observing Head (Tete qui regarde).

1927-29
Marble, 16 Vs x 14 V2 x
(41

x 37 x

3 Vs

"

8 cm.)

Collection

The Alberto Giacometti

Foundation
Executed

in

marble by Diego

Giacometti
Inscribed: plinth back left "Alberto

Giacometti"

55

14

Woman (Femme).

192.8

Marble, 13V4 x 12V4 x 3V2"

(33.5

x31x9

Collection

cm.)

The Alberto Giacometti

Foundation
Executed

in

marble by Diego

Giacometti
Inscribed: base back left "A.

Giacometti"

56

15

Woman (Femme).

192.8

Bronze, i8 7/s x 15 x
(48

x 38 x

Collection

3%"

8.5 cm.)

The Alberto Giacometti

Foundation
Cast no. 1/6
Inscribed: base back left "Alberto
Giacometti 2/6"; base back "Susse

Fondeur Paris"

57

i6

Man and Woman (Homme et femme).

1928-29
Bronze, 18 Vs"

h. (h.

46 cm.)

Collection Henriette

Unique

Gomes,

Paris

cast

Inscribed: base "Alberto Giacometti"

58

17
Reclining

Woman (Femme couchee).

192.9

Bronze, io 5/8 x 17V4 x 6

A"

(27 x 44 x 16 cm.)

Collection

The Alberto Giacometti

Foundation
Cast no. 1/6
Inscribed: base back right "Alberto
Giacometti 1929 1/6"

18

Woman who Dreams

(Femme couchee qui reve). 1929
Reclining

Painted bronze, 9V2 x 17 x 5V2"

(24.5

x 43 x 14 cm.)

Collection

The Alberto Giacometti

Foundation
Cast no. 0/6
Inscribed: base back

left

"Alberto

Giacometti 0/6"

59

19

Man (Homme). 1929

Bronze, ij^xiix 3%"
(40 x 30.5 x 8.5 cm.)

Collection

The Alberto Giacometti

Foundation
Cast no. 2/6
Inscribed: lowest transverse

beam back

"2/6 Alberto Giacometti 1929"

60

21
Portrait of

Giovanni Giacometti
Giovanni Giacometti).

(Portrait de

1929-30
Bronze,

Three Figures Outdoors (Trois

personnages dehors). 1929
Bronze, 20 Vi

10%

x 8 !/4 x 9V2"

(27.5 x 21.5 x 24 cm.)

(51.5

x38.5

New Jersey

Inscribed: lower left "Alberto

Unique cast

3V2"

cm.)

The Ratner Family

Collection Bruno Giacometti

Giacometti 1929-30"

x^'^x

x9

Collection, Ft. Lee,

Inscribed: inside plinth "Epreuve

unique"

61

22

Suspended Ball (Boule suspendue).

1930-31
Plaster with metal, 24

x 14V& x 13V4"

(61 x 36 x 33.5 cm.)

Collection

The Alberto Giacometti

Foundation
Inscribed: plate edge left side "Platre
original Alberto Giacometti"; plate
right side "Alberto Giacometti"

1
1

ta^L

J^PA
^M

^^^

V^i-c

"
j

^^^

62

^:.~.: -^^?> ff 36*!

*3

Cage (La Cage). 1 93

Wood, 19V4"
Collection

h. (h.

49 cm.)

Moderna Museet,

Stockholm

Unique

Not

cast

inscribed

63

2-4

2-5

Disagreeable Object (Objet

Disagreeable Object to be Disposed

desagreable). 193

(Objet desagreable a

Wood, 19" long

Wood, 8V4"

(1.48.5 cm.)

Private Collection,

Not

64

inscribed

New York

h. (h.

jeter).

193

21 cm.)

Penrose Collection, London

Not inscribed

Of

26
Circuit (Circuit). 19 31

Wood, i8Vfcxi8Vix2"
(47 x47 x5 cm.)
Collection Henriette

Not

Gomes,

Paris

inscribed

65

2-7

Caress {Car esse). 1932

Marble, 19V4"

h. (h.

Private Collection

Not

66

inscribed

49 cm.

28

Woman with her

Throat Cat (Femme

egorgee). 1932

Bronze, yVs x 29V2 x 22 7/8"

(20 x 75 x 58 cm.)

Collection

The Alberto Giacometti

Foundation
Cast no. 3/5
Inscribed: under shovel left "A.

Giacometti 1932 3/5"; "Alexis Rudier

Fondeur Paris"

67

30

2-9

Walking

Woman (Femme qui marche).

Bronze, 59"
Collection

Statue of a Headless

sans

1932-34
h. (h.

150 cm.)

The Museum

of Fine Arts,

Boston, Henry Lee Higginson and

William Francis Warden Funds

tete).

Woman (Femme

1932.-36

Bronze, 58V2"

h. (h.

148.5 cm.)

The Solomon R.
Guggenheim Museum, New York
Collection

Cast no. 0/6

Cast no. 4/4

Inscribed: base "Alberto Giacometti

Inscribed: right "Alberto Giacometti"

1932-36"

68

3i

Table (La Table

Bronze, 56VV'
Collection

Moderne,
Unique

surrealiste).

h. (h.

Musee National

d'Art

Paris

cast executed

original for

Moderne,

1933

143 cm.)

from 1933 plaster

Musee National d'Art

Paris in 1969

Inscribed: back left "Alberto

Giacometti, 1933"

69

3*

Flower

in

Danger (Fleur en danger).

1933-

Wood,

plaster, metal, zi

/s

x 3o 3/4 x

7V6" (55.5x78.5x18 cm.)

Collection

The Alberto Giacometti

Foundation
Inscribed: base front right in pencil

"Alberto Giacometti"

70

33

The

Invisible Object

(Hands Holding

the Void) (L'Objet invisible (Mains

tenant

le vide)).

Gilt bronze,

1934

60V4"

h. (h.

153 cm.)

Collection National Gallery of Art,

Ailsa

Mellon Bruce Fund 1974

Cast no. 3/6

Inscribed: base top back "Alberto

Giacometti 1935"; base right back

"3/6 Alexis Rudier Fondeur Paris"

7i

34

Cube (Le Cube). 1934

Bronze, 37 x

23%

x 23 Vs"

(94 x 60 x 60 cm.)

Collection

The Alberto Giacometti

Foundation
Cast no. 1/2
left "Alberto
Giacometti 1/2"; back "Susse Fondeur

Inscribed: front

Paris"

7i

35

Cubist

Head

Plaster,

fk

(Tete cubiste). 1934

x 814 x 7V2"

(18 x 21 x 19 cm.)

Collection

The Alberto Giacometti

Foundation
Inscribed:

bottom

right "Alberto

Giacometti"

73

36

Cubist

Head

(Tete cubiste). 1934

Bronze, 7"

h. (h.

Collection

The Art

18 cm.)
Institute of

Chicago, Gift of Skidmore, Owings

and Merrill
Cast no. 1/6
Inscribed: lower edge right "Alberto

Giacometti"

74

37
Cubist

Head (Tete

Marble, 7 5/4 "h.

(h.

Private Collection,

Not

cubiste).

1934

20 cm.)

New York

inscribed

75

Head

of Isabel (Tete d'lsabel). 1936

Bronze, 11 V2"

h. (h.

The Ratner Family

Z9 cm.)

Collection, Ft. Lee,

New Jersey
Cast no. 6/6
Inscribed:

bottom left "Susse Fondeur

bottom "6/6 A.

Paris"; back

Giacometti"

76

39

Woman with
chariot

Bronze,

1).

Chariot

(Femme au

1942-43

6^A"

h. (h.

167 cm.)

Lent by Pierre Matisse Gallery,

New

York
Cast no. 3/6
Inscribed: top base right

"3/6 Alberto

Giacometti Susse Fondeur Paris"

77

4o

Group

of Three Plasters

(Groupe de

trois pldtres)
a.
3
2.

1944, iVs" h. (h. z.8 cm.); with base,

x 1V4 x iVs" (7 x z.8 x 3 cm.)

/4

1945, V2" h.

b. c.

base, 5 x z 3/s

1945, 1" h.

c. c.
5

3 /8

i /8

(h. 1.2.

x zVi"

(9.Z

Private Collection

Not

78

inscribed

5.5

x 7 cm.)

cm.); with base,

x 4 x 4 cm.)

(h. z.5

x iVs"

cm.); with

(iz.8

4i
Figurine (Figurine),

c.

1945

and metal, 4V2" h.

3 2 x z x zVs"
x 5 x 5.2 cm.)

Plaster

(h.

11.4 cm.);

with base,
(8.9

Collection
Art,

New

Thomas B.
Not

The Museum

of

Modern

York, Gift of Mr. and Mrs.

Hess, 1966

inscribed

79

44

42-

Figurine (Figurine),
Plaster

and metal,

with base, z
(5.6

3 /i" h. (h. 9.5 cm.);

V\

(2.1

The Museum

B. Hess,

of

Collection
Art,

Not

c.

The Museum

of

Modern

Hess, 1966

inscribed

Figurine (Figurine),

1945

and metal, zVs" h. (h.

with base, 1% x 1V2 x iVs"

5.4 cm.);

x 3.8 x 4.1 cm.)

Collection

The Museum

of

New York, Gift of Mr.

Thomas

80

h. (h. 4.3 cm.;

x 1V2 x iV"

45

Plaster

Not

/g

1945

New York, Gift of Mr. and Mrs.

Thomas B.

inscribed

c.

1%"

x 3.6 x 2.9 cm.)

and Mrs.

1966

Figurine (Figurine),

Art,

and metal,

Modern

43

(3.3

Plaster

with base,

x 1V4"

New York, Gift of Mr.

Thomas
Not

Figurine (Figurine),

1945

x 4.3 x 4.2 cm.)

Collection
Art,

c.

B. Hess,

inscribed

1966

c.

1945

and metal, i 5/s"

with base, Vs x V2 x Vz"
(1.6 x 1.2 x 1.2 cm.)
Plaster

Modern

Collection

and Mrs.

Art,

The Museum

of

New York, Gift of Mr.

Thomas B.
Not

h. (h. 4 cm.);

Hess, 1966

inscribed

Modern
and Mrs.

46

Hand (La

Main). 1947

Bronze, Z2.V2 x
(57

x72 x3.5

Collection

28%

x 1V4"

cm.)

The Alberto Giacometti

Foundation
Cast no. 5/6
Inscribed: shoulder

"AG

5/6"

81

48

47

1947

Head of a Man on a Rod

d'homme sur tige). 1947

Bronze, 6yVs x 9V4 x zoVs"

Bronze and

(171 x 23.5 x 33 cm.)

(h.

Walking

Man (Homme qui marche).

Collection

The Alberto Giacometti

Foundation

Collection William N. Eisendrath,

Not

Inscribed: base back "A. Giacometti

1/6 1947; base back bottom "Alexis

Rudier Fondeur Paris"

82

plaster, zi'/i" h.

55.5 cm.)

Cast no. 1/6

Cast no. 1/6

(Tete

inscribed

Jr.

49

Large Figure (Grande

Bronze, 79V2 x 8

/s

figure).

1947

x i6 3/g"

(202 x 22 x 41.5 cm.)

Collection The Alberto Giacometti
Foundation, Relinquished from

Kunsthaus Zurich
Cast no. 1/6
Inscribed: base left side "Alberto

Giacometti 1/6"; base back "Susse

Fondeur Paris"

50

Man Pointing (L'Homme an doigt).

1947
Bronze, light patina, 70V2" h.
(h.

179 cm.)

Collection Sheldon H. Solow

Cast no. 6/6

Inscribed: base left

"A Giacometti

6/6"; base back "Alexis Rudier"

84

5i

Nose(LeNez). 1947
Bronze, wire, rope,
(38 x7.5

steel,

15 x 3 x 16"

x66 cm.)

Collection The Solomon R.

Guggenheim Museum, New York

Cast no. 5/6

Inscribed:

bottom "Alberto Giacometti

5/6 Susse Fondeur Paris"

85

52-

Man Walking Quickly under the Rain

(Homme qui marche sous la pluie).
1948
Bronze,

x 3o 3/s x

(45

cm.)

17%
*77* 15

Collection

5 /s"

The Alberto Giacometti

Foundation
Cast no. 4/6
Inscribed: plinth right side

Giacometti"; base lower

"4/6 A.

left

side

"Alexis Rudier Fondeur Paris"

86

54

53

Standing

Woman (Femme debout).

Bronze, 7i 5/sx
(182.

Standing

Woman (Femme debout).

1948

1948

8%

Bronze, 66 x 6V4 x i3 3/s"

x 14V4"

(167.5 x 16 x 34 cm.)

x 23 x 36 cm.)

Collection

The Alberto Giacometti

Collection

The Alberto Giacometti

Foundation

Foundation

Cast no. 1/5

Cast no. 1/6

Inscribed: base right side "A. Gia-

Inscribed: plinth side right "A.

cometti 1/5"; base back

Giacometti 1/6"; plinth back right

Rudier Fondeur Paris"

left

"Alexis

"Alexis Rudier Fondeur Paris"

87

55

Three Men Walking (Trois

quimarchent). 1948

hommes

Bronze, 28 3/s x i5 3/4 x i.y'k"

(72.

x 40 x 40 cm.)

Collection Mr. and Mrs.

Sloan,

Howard

New York

Cast no. 4/6

Inscribed: upper base front "A.

Giacometti 4/6"; lower base back

bottom "Alexis Rudier Paris"

88

56
City Square (Place). 1948

Bronze, 23 x 17V2 x 9V2"

(58.5 x44.5 x25 cm.)

The Ratner Family

Collection, Ft. Lee,

New Jersey
Cast no. 6/6
Inscribed: plinth

"6/6 A. Giacometti";

corner "Alexis Rudier Fondeur Paris"

57

Man Crossing a Square {Homme

traversant une place). 1949

Bronze,

26%

(68 x 80 x

Collection

52.

x 31 V2 x 20V2"
cm.)

The Alberto Giacometti

Foundation
Cast no. 1/5
Inscribed: base right

"A Giacometti

1/5"; base right side "Alexis Rudier

Fondeur Paris"

59

Composition with Seven Figures and a

Head (The Forest) (Sept figures et une
tete (La Foret)).

1950

Painted bronze, 22"

Collection

h. (h.

The Reader's

56 cm.)

Digest

Association, Pleasantville,

New York

Cast no. 1/6

Inscribed: base right side at left "A.

Giacometti 2/6"; base back right

"Alexis Rudier Fondeur Paris"

90

58

Two Houses (Figurine

deux boites qui sont des maisons).

Figure between
entre

1950
Bronze, ii 7/sxzix
(30

x54 x9.5

Collection

3 /i"

cm.)

The Alberto Giacometti

Foundation
Cast no. 1/6
Inscribed: right (narrow) side "A.
Giacometti 1/6"; back left"Susse

Fondeur Paris"

9i

6o
Chariot (Le Chariot). 1950
Bronze,

65%

x x^Vs x 2.7V2"

(167 x 62 x 70 cm.)
Collection

The Alberto Giacometti

Foundation
Cast no. 3/6
Inscribed: plate right side

A. Giacometti"

92

"3/6

62

Four Figurines on a Base (Quatre

figurines sur base).

1950

7
/s

Bronze, 6^
x 16V2 x i2 5/s"
(162 x 42 x 32 cm.)
Collection

The Alberto Giacometti

Foundation
Cast no. 1/6
Inscribed: plate edge right side

"1/6

A. Giacometti"; plate edge back

"Alexis Rudier Fondeur Paris"

61

Four

Women on a Base (Quatre

femmes sur socle). 1950

Bronze, 30 x 16V& x 6Vi"
(76 x 41.5 x 17 cm.)

Collection

The Alberto Giacometti

Foundation
Cast no. 1/6
Inscribed: base top right side

Giacometti"; base back

left

"1/6 A.

"Alexis

Rudier Fondeur Paris"

93

63

Square (Composition with Three

Figures and a Head) (Place (Composition avec trois figures et une tete)).

1950
Bronze, 22V4 x

zi'/i

x 16V2"

(56 x 56 x 42 cm.)

Collection

The Alberto Giacometti

Foundation
Cast no. 2/6
Inscribed: plate edge right side "A.

Giacometti 2/6"; plate edge back

"Alexis Rudier Fondeur Paris"

94

left

64

Glade (La Clair iere). 1950

Bronze, 23V4 x 25 3/4 x 20V2"
(59.5 x65.5 x52 cm.)
Collection

The Alberto Giacometti

Foundation
Cast no. 1/6
Inscribed: plate edge right side "A.
Giacometti 2/6"; plate edge back

"Alexis Rudier Fondeur Paris"

95

1 1

65

Cat (Le Chat). 195

Bronze, 11 V2 x 3i 3/4 x
(29

5 /s"

x 80.5 x 13.5 cm.)

Collection

The Alberto Giacometti

Foundation
Cast no. 5/8
Inscribed: base front right "Alberto

Giacometti 5/8"; right side "Susse

Fondeur Paris"

66

Dog (Le Chi en).

195

17% x 38
(45 x 98 x 15 cm.)

Bronze,

Collection

/s

/s"

The Alberto Giacometti

Foundation
Cast no. 1/8
Inscribed: base underneath head

"Alberto Giacometti 1/8"

96

68

67
Standing

Nude HI (Nu debout III).

Nude (Figure on a Cube) (Nu

1953

sur cube)). 1953

Bronze, 21 V2 x 4 3/i x 6V4"

(54.5 x izx 16.5 cm.)

Bronze, zzV& x

Collection

The Alberto Giacometti

Collection

The Alberto Giacometti

Foundation

Cast no. 1/6

Cast no. 6/6

Inscribed: base right side

"1/6 1953

x 5V2"

(57.5 x 15 x 14 cm.)

Foundation

Alberto Giacometti"

5 /s

(Figurine

Inscribed: base right side "Alberto

Giacometti 6/6"; base back "Susse

Fondeur Paris"

97

69

Diego

in a Jacket

(Diego au blouson).

1953
Bronze, 14 x 11 x 4V8"
(35.5 x 28 x 10.5 cm.)
Collection

The Alberto Giacometti

Foundation
Cast no. 3/6
Inscribed: back

left "1953 3/6 Alberto

Giacometti"; back right "Susse

Fondeur Paris"

98

70

Diego

in a

Sweater (Diego an chandail).

1954
Bronze, 19V4 x io 5/8 x 8V4"
(49 x 27 x 21 cm.)

Collection

The Alberto Giacometti

Foundation
Cast no. 1/6
Inscribed: base right side

"1/6 Alberto

Giacometti"; bottom base back "Susse

Fondeur Paris"

99

7i

Large Head of Diego (Grande

tete

de

Diego). 1954

Bronze,
(65

25%

x i5 3/s x

8 /s

x 39 x 2i cm.)

Collection

The Alberto Giacometti

Foundation
Cast no. 4/6
Inscribed: shoulder back right "Alberto

Giacometti 4/6"; shoulder back

"Susse Fondeur Paris"

100

left

73

72-

Study after Nature (Etude d'apres

Nude after Nature (Annette) (Nu

nature). 1954

d'apres nature (Annette)). 1954

Bronze,

zi'/t

xj'/sx 7V2"

(56.5 x 13 x 18.5 cm.)

Collection

The Alberto Giacometti

(53 x 15 x

Collection

2.0

5%

7%"

cm.)

The Alberto Giacometti

Foundation

Foundation

Cast no. 3/6

Cast no. 1/6

Inscribed: base

Bronze, zoVs x

left

Giacometti 1/6"

"1954 Alberto

Inscribed: base

left

side "Alberto

Giacometti 3/6"; base back "Susse

Fondeur Paris"

74

75

Head of Diego

Seated

(Tete de Diego). 1955

Bronze, 22V4 x 8V2 x

7/g"

(56.5 x 21.5 x 15 cm.)

Collection

The Alberto Giacometti

Woman (Femme assise).

Bronze, 30V4" h.

Washington, D.C.

Cast no. 1/6

Cast no. 1/6

back

"1/6 Giacometti";
Fondeur Paris"

left

Inscribed: base right side

bottom

"Alberto Giacometti 1/6"; base back

left

102

Museum and

Sculpture Garden, Smithsonian

Institution,

right "Susse

77 cm.)

Collection Hirshhorn

Foundation

Inscribed: back

(h.

1956

"Susse Fondeur Paris"

76

77

Woman of Venice I (Femtne de

Woman of

Venice

Venise

Venise

1956

I).

1956

Bronze, 41V4"

h. (h.

II).

II

(Femme de

Painted bronze, 47V2"

105 cm.)

Collection Mr. and Mrs. Keith Barish,

The Ratner Family

New York

New Jersey

Cast no. 3/6

Cast no. 1/6

h. (h.

120.5 cm.)

Collection, Ft. Lee,

"1/6 Alberto

Inscribed: base back "Alberto

Inscribed: plinth

Giacometti 3/6 Susse Fondeur Paris"

Giacometti"; plinth back "Susse

left

Fondeur Paris"

rr~

103

78

79

Woman of Venice IV (Fetnme de

Woman of Venice VI (Femme de

Venise IV). 1956

Venise VI). 1956

Bronze, 46"

h. (h. 114. 5

Bronze, 52" h.

cm.)

Collection Mr. and Mrs. Wilfred

P.

(h.

132 cm.)

Lent by Sidney Janis Gallery,

Cohen

New York

Cast no. 6/6

Cast no. 6/6

Inscribed: base "Alberto Giacometti"

Inscribed: base left side "Alberto

Giacometti"; base back "Susse

Fondeur Paris"

JL

m
I

[*

G^n&'

%^fl
J

04

8o

Woman

81
of Venice VII

(Femme de

Bronze, 48"

h. (h.

122 cm.)

Private Collection

Cast no. 2/6

Inscribed: base right side "Alberto

Giacometti 2/6"; base back "Susse

Fondeur"

Woman of Venice

VIII

(Femme de

Ve?useVI!I).i 95 6

Venise VII). 1956

Bronze, 48"
Collection

h. (h.

122 cm.)

The Alberto Giacometti

Foundation
Cast no. 2/6
left side "Alberto
Giacometti 2/6"; base back right

Inscribed: base

"Susse Fondeur Paris"

105

83

Head of a Man on a Rod (Tete

d'homme sur tige). 1956-58
Bronze, i6V x 4V8 x ^Vs"
(41.5

x 10.5 x 13 cm.)

Collection

The Alberto Giacometti

Foundation
Cast no. 1/1
Inscribed: base left side bottom "A.
Giacometti 1/1"

82
Project for a

Monument to a Famous

Man (Projet pour un monument d'un

homme celebre). 1956
Bronze, 18"

h. (h.

46 cm.)

The Ratner Family

Collection, Ft. Lee,

New Jersey
Cast no. 2/6
Inscribed: base left "Giacometti 2/6";

plinth back "Susse

106

Fondeur"

85

Head of a Man on a Rod (Tete

d'bomme sur tige). 1957
Plaster,

12

Collection

X4 x 4%"

(31 x 10 x 11

The Alberto Giacometti

Head of a Man on a Rod (Tete

d'homme sur tige). 1957
cm.

Bronze, izVi x 3V2 x 4 3/s"

(30.5 x 9 x 11 cm.)

Foundation

Collection

Cast no. 1/1

Foundation

Inscribed: base

left

Giacometti 1/1"

side "A.

The Alberto Giacometti

Cast no. 1/1

Inscribed: base left side "A. Giacometti

1/1"

107

86
Seated

87

Woman (Femme assise).

1956
Bronze, 21" h.

Leg (La Jatnbe). 1958

Bronze, 86 x 11

(h.

53.5 cm.)

% x 18V4"

(218.5 x 30 x 46.5 cm.)

Collection Mr. and Mrs. Wilfred P.

Lent by Pierre Matisse Gallery,

Cohen

New York

Cast no. 7/8

Cast no. 5/6

"5/6 Alberto

Inscribed: base "Alberto Giacometti

Inscribed: base left side

7/8"

Giacometti Susse Fondeur"

108

89

Diego on

Stele

(Diego sur

stele

Bronze, 63V2"

1.)

Diego on Stele

111

(Diego sur

stele 111).

1957-58

1957-58
h. (h. 161. 5

cm.)

Painted bronze, 65 Vs" h.

(h.

166 cm.)

Lent by Pierre Matisse Gallery,

The Ratner Family Collection,

New York

New Jersey

Cast no. 5/6

Cast no. 3/6

Inscribed: head back "Alberto

Inscribed: stele top surface

Giacometti Susse Fondeur"

Alberto Giacometti"; plinth back

Ft.

Lee,

"3/6

"Susse Fondeur Paris"

109

90

9i

Awkward Woman (Femme mastoc).

Woman with a Broken Shoulder

(Femme, epaule cassee). 1958-59

1958
Bronze, 2.5V2"

h. (h.

The Ratner Family

Bronze, z5 7/s"

65 cm.)

Collection,

Ft. Lee,

h. (h. 65.5

The Ratner Family

cm.)

Collection, Ft. Lee,

New Jersey

New Jersey

Cast no. 3/6

Cast no. 1/2

left "Alberto
Giacometti 3/6"; plinth back "Susse

Inscribed: plinth right "Alberto

Fondeur Paris"

Fondeur Paris"

Inscribed: plinth

Giacometti 1/2"; plinth back "Susse

92.

Large Seated
assise).

Woman (Grande femme

1958

Bronze, 32V2 x 8 x 12"

(82.5

x 20.5 x 30.5 cm.)

Collection

The Milwaukee Art

Gift of Mrs.

Center,

Harry Lynde Bradley

Cast no. 2/6

Inscribed: base left side "Alberto
Giacometti 2/6"; base back "Susse

Fondr Paris"

in

93

Chase Manhattan Plaza

pour Chase Manhattan Plaza).

Project for
(Projet

1959
a.

Cast no. 3/6, bronze, iVs" h.

7
cm.); with base, z / x 3V4 x V2"

(h. 5.3

(7.5

1.3 cm.)

Inscribed: base right side "Alberto

Giacometti"; base

left

side

"Thinot

Fondeur 3/6"
b.

Cast no. 5/6, bronze, 3" h.

cm.); with base, 4% x 1V2 x 1"

(h. 7.5

X4XZ.5

(10.5

cm.)

Inscribed: base

back "Alberto
left side "Thinot

Giacometti"; base

Fondeur"
c.

Cast no. 5/6, bronze, V4" h.

2 cm.); with base, zVs x V2 x Vs"

(h.

(6

1.3

cm.)

back "A. Giacometti";

"Thinot Fondeur"

Inscribed: base

base

left side

Private Collection

112

H3

94

Walking
i960

Man 1 (Homme qui marche I).

Bronze, jiVa"

h. (h.

182 cm.)

Collection Mrs. Bertram Smith

Cast no. 3/6

Inscribed: base back "Susse

Fondeur

Paris"; left leg left side "Alberto

Giacometti"

114

95

Monumental Head (Grande tete). i960

Bronze,

37% "

h. (h.

95 cm.)

Private Collection

Cast no. 5/6

Inscribed: base "Alberto Giacometti

5/6"

115

96

Large Standing

Woman I (Grande

femme debout I), i960

Bronze, 106V2" h.

(h.

270 cm.)

Lent by Sidney Janis Gallery,

New York
Cast no. 5/6
Inscribed: base top left "Alberto
Giacometti 5/6"; base back "Susse

Fondeur de Paris"

97
Large Standing Woman
femme debout II). i960
Bronze, 109 V2" h.

(h.

11

(Grande

278 cm.)

Collection PepsiCo., Inc., Purchase,

New York
Cast no. 4/6
Inscribed: base right side "Alberto

Giacometti 4/6"; base back "Susse

Fondeur Paris"

116

98

Large Standing

Woman HI (Grande

femme debout 111), i960

Bronze,

92%"

h. (h.

236 cm.)

Collection PepsiCo., Inc., Purchase,

New York
Cast no. 4/6
Inscribed: base right side "4/6"; base

back "Susse Fondeur Paris"

99
Large Standing

Woman IV (Grande

femme debout IV). i960

Bronze, 106V4"

h. (h.

270 cm.)

Collection Sheldon H. Solow

Cast no. 5/6

/:

<

117

Bust of Caroline (Buste de Caroline).

1961
Bronze, i8 7/8"

h. (h.

48 cm.)

Lent by Galerie Beyeler Basel

Cast no. 1/6
Inscribed: base back

Giacometti"

118

"1/6 Alberto

IOI

Head of Diego
Bronze, io 5/s"

(Tete de Diego). 1961

h. (h.

The Ratner Family

27 cm.)

Collection, Ft. Lee,

New Jersey
Cast no. 6/6
Inscribed: plinth back

"6/6 Alberto

Giacometti"

119

103

Bust of Yanaihara (Buste de

Yanaihara). i960

Bust of Annette IV (Buste

Bronze, 17"

Bronze, 22V2"

h. (h.

43 cm.)

IV).

h. (h.

57 cm.)

Collection Mr. and Mrs. Wilfred P.

Collection Mr. and Mrs.

Cohen

Cummings

Cast no. 2/6

Cast no. 6/6

Inscribed: back

bottom "Alberto

Giacometti Susse Fondeur Paris"

d' Annette

1962

Nathan

Inscribed: edge lower right "Alberto

Giacometti 6/6 Susse Fondeur Paris"

105

104
Bust of Annette (Buste
c.

d' Annette).

i960

Bust of Annette VI (Buste

VI).

Painted bronze, 18" h.

(h.

46 cm.)

d' Annette

1962

Bronze, 23 Vs"

h. (h.

60 cm.)

Lent by Pierre Matisse Gallery,

Collection Mr. and Mrs. Joseph

New York

Zimmerman

Cast no. 1/6

Cast no. 5/6

Inscribed: bust back

bottom "Alberto

Giacometti Susse Fondeur Paris"

Inscribed: base right side "Susse

Fondeur Paris"; base back "Alberto

Giacometti 5/6"

121

io6

107

Bust of Annette VII (Buste

Bust of Annette VIII (Buste

VII).

d' Annette

1962

VIII).

Bronze, 23 V2"
Collection

h. (h. 59.5

cm.)

The San Francisco Museum

of Art, Gift of

Mr. and Mrs. Louis

Bronze, 23"

Museum

Cast no. 2/6

Cast no. 5/6

122

"2/6 Alberto

cm.)

of Art, Gallagher

Collection

Inscribed: base top left

h. (h. 58.5

Collection University of Arizona

Honig

Giacometti"

d' Annette

1962

Inscribed: side lower

Giacometti 5/6"

left

Memorial

"Alberto

io8

109

Bust of Annette IX (Buste d' Annette

Chiavenna Head 1 (Tete de

IX). 1964

Chiavennal). 1964

Bronze,

17% "

h. (h.

45 cm.)

Bronze, 16V4"

h. (h. 41.5 cm.)

Lent by Pierre Matisse Gallery,

Lent by Pierre Matisse Gallery,

New York

New York

Cast no. 3/6

Cast no. 5/6

Inscribed: bust bottom front "3/6

Alberto Giacometti Susse Fondeur

Paris"

Inscribed: base right side "Alberto

Giacometti"; base back edge "Susse

Fondeur Paris"; base right edge "5/6'

12.3

Bust of a Man, New York 1 (Buste

d'homme, New York I). 1965

Bronze, 21 Vt"

h. (h.

54 cm.)

Collection Annette Giacometti

Cast no. 8/8

Inscribed: base back "8/8 Alberto

Giacometti Susse Fondeur Paris"

124

Elie Lotar (Elie Lotar). 1965

Bronze,

26%"

h. (h.

67 cm.)

Collection Annette Giacometti

Cast no. 8/8

Inscribed: base back

"8/8 Alberto

Giacometti Susse Fondeur Paris"

Paintings

112

Bruno with Hazel Pipe (Bruno avec

de noisette). 1920

flute

Oil

on canvas, 11 x 8V4"

(28 x 21 cm.)

Private Collection

Not

inscribed

125

H3
Self Portrait (Autoportrait). 1921

Oil on canvas, 32V2 x

28%"

(82.5 x 72 cm.)

Collection

The Alberto Giacometti

Foundation
Inscribed:

126

lr

"Alberto Giacometti"

ii 4

Portrait of the Artist's Father (Portrait

du pere de
Oil
(64

l' artiste).

1930-32

on canvas, z$ lA x 23 Vs"
x 60 cm.)

Collection Kunsthaus Zurich

Not

inscribed

i*7

H5
Apple (La Pomme). 1937
Oil on canvas, 28 V4 x 29 Vh"
(72 x75.3 cm.)
Private Collection
Inscribed:

1937"

128

lr

"Alberto Giacometti

n6
Portrait of the Artist's

de

la

Oil
(65

mere de

I' artiste).

Mother

(Portrait

1937

on canvas, 23% x 19%"

x 50 cm.)

Private Collection

Not inscribed

29

H7
Seated

Man (Homme assis).

Oil on canvas, 32.V2

1946

x z^Vs"

(82.5 x 64.5 cm.)

Collection Acquavella,
Inscribed:

1946"

130

lr

New York

"Alberto Giacometti

119

Yellow Chair in the Studio (La Chaise

jaune dans I' atelier). 1946
verso:

Head of a Man

Oil on masonite,
(44

(Tete d'homme).

17% x

i2 /s"

x 32 cm.)

Oil on canvas, 19V2 x 13"

(49-5

*33

cm.)

Collection Robert Elkon

Collection Mr. and Mrs. Herbert Lust

Inscribed: recto

Giacometti at the Easel (Giacometti au

chevalet). 1946-47

lr

Not

inscribed

"Alberto

Giacometti"; verso

lr

"Alberto

Giacometti 1946"

'

131

120

121

Tall Figure (Grand figure). 1947

Head of a Man

Oil

on canvas, 54V8 x i6Vs"

Oil

(Tete d'homme). 1947

on canvas, zjVa x 15"

(138 x 41 cm.)

(69 x 38 cm.)

Lent by Pierre Matisse Gallery,

The Ratner Family

New York

New Jersey

Inscribed:

1947"

132

lr

"Alberto Giacometti

Inscribed:

1947"

lr

Collection, Ft. Lee,

"Alberto Giacometti

Three Plaster Heads (Trois

pldtre).

Oil
(73

tetes

de

1947

on canvas, 28% x 23 3/s"

x 59.5 cm.)

Collection

The Alberto Giacometti

Foundation
Inscribed:

lr

"Alberto Giacometti

1947"

*St,'sw^JJf /<&

133

125

123

The Bathers

Annette (Annette). 195

(Les Baigneurs). 1949

(60 x 21 cm.)

Oil on canvas, 3i 7/s x 25 V2"

(81 x 65 cm.)

Private Collection

Collection

Oil on canvas,

Not

2.3 /s

x S

A"

inscribed

Inscribed:

1951"

fc

?
fl*C*/'(^J|'iCp ffrtfj
'/jfj

134

The Alberto Giacometti

Foundation
11

"Alberto Giacometti

124
Seated Figure in Studio (Figure assis

dans

I'

atelier).

1950

Oil on canvas, 39V2 x 3i 7/s"

(100.5 x 81 cm.)

Collection Julian
Inscribed:

lr

J.

Aberbach

"Alberto Giacometti"

135

126
Street (La Rue). 1952.

Oil on canvas, 28 3/4 x 21 lA"

(73

x 54 cm.)

Lent by Galerie Beyeler Basel

Inscribed:

lr

"Alberto Giacometti

1952"

hU

.1

136

IV'

"

?fi

127

Landscape (Paysage). 1952

Oil on canvas, 22 x

24%"

(56 x 61.5 cm.)

The Ratner Family

Collection, Ft. Lee,

New Jersey
Inscribed:

Ir

"Alberto Giacometti

1952"

137

129
Standing

Nude (Nue debout). 1953

Oil on canvas, 6zV4 x

2.2."

Diego (Diego). 1953

Oil on canvas, 39V2 x jiVi"

x 80.5 cm.)

(159.5 x 56 cm.)

(100.5

Lent by Sidney Janis Gallery,

Collection

New York
Inscribed:

1953"

138

lr

"Alberto Giacometti

The Solomon R.
Guggenheim Museum, New York
Not

inscribed

i3
Portrait of Peter

Watson

(Portrait de

Peter Watson). 1954

Oil on canvas, 28 3/s x

23%"

(72 x 60 cm.)

Collection

The Alberto Giacometti

Foundation
Inscribed:

lr

"Alberto Giacometti

1954"

ii

--

"

AU-v/sSi^r"

139

i3i
Portrait of G.
trait

Oil

David Thompson (Por-

de G. David Thompson). 1957

on canvas,

39%

x 29 Vs"

(100 x 74 cm.)
Collection

The Alberto Giacometti

Foundation
Inscribed:

1957"

140

lr

"Alberto Giacometti

132
Portrait of

haku Yanaihara

(Portrait

d'lsaku Yanaihara). 1957

Oil

on canvas,

(81

x 65.5 cm.)

Collection

31%

i^A"

The Alberto Giacometti

Foundation
Inscribed:

lr

"Alberto Giacometti

1957"

Ateat^ $ianBiii*[fi

c
L :

141

133

Annette (Annette). 1957

Oil on canvas, 36V4 x 28 V2"
(92 x 72.5 cm.)

The Ratner Family

Collection, Ft. Lee,

New Jersey
Inscribed:

1957"

142

lr

"Alberto Giacometti

134

135

Gray Figure (Figure grise). 1957

Standing

Oil on canvas, 25

Oil on canvas, 61V4 x 2.7V2"

x 21V4"

(63.5 x 54 cm.)

(155.5

Nude (Nue debout).

X70cm.)

Lent by Sidney Janis Gallery,

Lent by Sidney Janis Gallery,

New York

New York

Inscribed:

1957"

lr

"Alberto Giacometti

[958

Inscribed:

lr

" 1958 Alberto

Giacometti"

.
-

*tt,*

143

i36

Man in a Landscape (Homme dans

unpaysage). 1958
7
Oil on canvas, z^Vs x 3i /s"

(60 x 81 cm.)

Lent by Galerie Beyeler Basel

Inscribed:

lr

"Alberto Giacometti

1958"

v Ajjfr

T44

137
Portrait of Yanaihara (Portrait de

Yanaihara). 1961
Oil on canvas, 39 x 32" (99 x 81 cm.)

Collection Sheldon H. Solow

Inscribed:

lr

"Alberto Giacometti

1961"

145

i 3

Portrait of Caroline (Portrait

de Caroline). 1962

Oil on canvas, 51 x 38"

(129.5 x 96.5 cm.)

The Art Institute of

Mary and Leigh B. Block

Collection

Chicago,

Fund

for Acquisitions in

Memory

of Miss Loula Lasker

Inscribed:

lr

"Alberto Giacometti

1962"

AMvttt G/CUBIU&;

146

139

Annette

in a

Coat (Annette avec

manteau). 1964

on canvas, 45 V2 x 3i 3/4"
(115. 5 x 80.5 cm.)

Oil

The

Kittay Collection

Inscribed:

lr

"Alberto Giacometti

1964"

147

"

140

Head of a Man I (Diego) (Tete

d'hommel (Diego)). 1964
Oil on canvas, i7 7/s x
(45.5

1 3 /i

X35cm.)

Collection

The Alberto Giacometti

Foundation

Not

inscribed

141

Head of a Man II (Diego) (Tete

d'homme II (Diego)). 1964
Oil on canvas, ijVs x i4 3/i"
(45-5

x 37-5 cm.)

Collection

The Alberto Giacometti

Foundation

Not

148

inscribed

,-

142
Portrait of

Maurice Lefebvre-Foinet
Maurice Lefebvre-Foinet).

(Portrait de

1964
Oil

on canvas, 2i 5/8 x

(55

X46cm.)

Collection

iS'/s"

The Alberto Giacometti

Foundation

Not

inscribed

/\

149

143

Head of a Man III (Diego) (Tete

d'homme III (Diego)). 1964
Oil on canvas,

2.5

V2

x ij 7/"

(65 x 45.5 cm.)

Collection

The Alberto Giacometti

Foundation

Not

inscribed

144

Head of a Man IV (Diego) (Tete

d'homme IV (Diego)). 1964
Oil on canvas, i9 5/s x 16"
(50 x 40.5 cm.)

Collection

The Alberto Giacometti

Foundation

Not

150

inscribed

145

146

Portrait of Annette in a Yellow Blouse

(Portrait d' Annette a la blouse jaune).

Portrait of

Nelda

(Portrait de Nelda).

1964

1964
Oil on canvas, i9 5/8 x i5 3/4"

Oil on canvas, 2i 3/s x iSMj"

(54.5 X46CIT1.)

(50 x 40 cm.)

Collection
Collection

The Alberto Giacometti

The Alberto Giacometti

Foundation

Foundation

Not inscribed

Not

inscribed

151

147
Portrait of Annette (Portrait
d' Annette).

1964

on canvas, zjVi x i9 5/8"

(70 x 50 cm.)

Oil

Collection

The Alberto Giacometti

Foundation

Not

152

inscribed

Little

Nude

(Annette) (Petite nue

(Annette)). 1964

on canvas, 23 5/s x 19V2"

(60 x 49.5 cm.)

Oil

Collection

The Alberto Giacometti

Foundation

Not inscribed

153

149
Figure
Oil

and Head (Figure

on canvas, 35% x 28

et tete).
3

/s"

(90 x 72 cm.)

Collection Bruno Giacometti

Not

154

inscribed

1965

150

Works on Paper

The Artist's Mother (La Mere de

l' artiste).

Pencil,

191 3-14

14^ x 9V2"

Collection

(36.5 x 24.5

cm.

The Alberto Giacometti

Foundation
Inscribed:

lr

"Alberto Giacometti

1913-14"

9/i*&;

155

152

i5i
Self Portrait at the

Age

of Seventeen

Portrait of

(Autoportrait a dix-sept ans). 191

Simon

verso: Sketches of the Artist's Mother

and Sister in Stampa (Les Esquisses de
la mere et la soeur de I' artiste a Stampa)

Ink, 12V4

Ink,

i2 3/4 x 9" (32.5 x 23 cm.)

Collection Frank Perls, Beverly Hills,

California
Inscribed: recto

Giacometti";

11

lr

"Alberto

Simon Berard

(Portrait de

Berard). 1919

x 9V4" (31 x 23.5 cm.)

The Ratner Family

Collection, Ft. Lee,

New Jersey
bottom "Aus dieser
Zeichnung wirst Du besser die Stellung
verstehen, ich machte sie an einem
Sonntag Morgen. Tsching"
Inscribed:

"1918"

~n

156

154
Seated

Woman (Femme assise).

1922-23
Pencil, 15V4 x

Collection

n"

(38.5 x 28 cm.)

The Alberto Giacometti

Foundation
Inscribed:

Ir

"Alberto Giacometti

1922-23"

153
Still

Life with

Apples (Nature morte

avecpommes). 1920
Oil

on paper, 12V4 X14"

(31

X35.5 cm.)

Collection Lydia Thalmann-Amiet,

Oschwand BE, Switzerland

Inscribed:

bottom center "Alberto"

M6if

/iff'

157

156

155

Standing

Nude from

the Back

(Nue

debout,de dos). 1922-23

Pencil, i6Vs

Collection

io //' (41 x 26 cm.)

The Alberto Giacometti

1922-23"

158

lr

1922-23
Pencil, 14V2 x 7" (37

Collection

x 18 cm.)

The Alberto Giacometti

Foundation

Foundation
Inscribed:

Man Standing (Homme debout).

"Alberto Giacometti

Inscribed:

1922-23"

lr

"Alberto Giacometti

158

157
Seated
assis,

Nude from

the

Back (Nu

de dos). 1922-23

Pencil, 19V8

Collection

x i2 3/s" (48.5 x 31.5 cm.)

The Alberto Giacometti

Inscribed:

lr

assise,

Woman from

the Back

(Femme

de dos). 1922-23

Pencil, i8

/8

Collection

n /8"
7

(46.5 x

30cm.)

The Alberto Giacometti

Foundation

Foundation

Giacometti"

Seated

"1922-23 Alberto

Inscribed: lc "Alberto Giacometti

1922-23"

159

159

Three Nudes (Trois femmes nues).

1923-2.4
Pencil, 1JV2

Collection

x 11"

(44.5 x 28 cm.)

The Alberto Giacometti

Foundation
Inscribed:

Ir

"Alberto Giacometti

1923-24"

l60
Self Portrait (Autoportrait).

Pencil, i^Vs

Collection

1923-24

x 12V4" (48.5 x 31.5 cm.)

The Alberto Giacometti

Foundation
Inscribed:

lr

"Alberto Giacometti

autoportrait 1923-24"

#Zr, T^,./.-

160

^S'/^f

i6i
Self Portrait (Autoportrait).

Pencil, io

/4

Collection

1923-24

x 9" (27.5 x 23 cm.)

The Alberto Giacometti

Foundation
Inscribed:

lr

"Alberto Giacometti

1923-24 autoportrait"

162
Study of Head and Shoulder
(Etude de tete et d'epaule).
1931
Pencil, 13 x 10" (33 x 25.5 cm.)

Collection Wilder Green,

Inscribed:

lr

New York

"Alberto Giacometti

1931"

a '1

*.,<.,,

^-. /<

l6l

i6 3
Palace at 4 a.m. (Palais de quatre
heures). 1932.
Ink, 8V2

x io 5/s" (21.6 x 27 cm.)

Collection

Kunstmuseum

Basel,

Kupferstichkabinett
Inscribed:

lr

"Alberto Giacometti"

'

164

My Studio (Dessin de mon atelier).

1932
Pencil, 12

x 18V2" (30.9 x 46.9 cm.)

Collection

Kunstmuseum

Basel,

Kupferstichkabinett
Inscribed:

lr

"dessin de

mon

atelier

que vous m'avez fait la grande joie de

ne pas le trouver detestable. Alberto
Giacometti 1932"

162

Studio (Atelier). 1932

5

Pencil, 12 x i6 /s" (31.2

Collection

X42 cm.

Kunstmuseum

Basel,

Kupferstichkabinett
Inscribed:

lr

"Alberto Giacometti

1932"

163

x66

167

Project for Jean-Michel Frank (Projet

Moon-Happening

pour Jean-Michel Frank),

Gouache and

pencil, 8 3/4

c.

19 32

x 5V2"

Ink, 11

Collection
Inscribed:

Collection, Ft. Lee,

New Jersey
Inscribed: 11 "Giacometti projet
Pour JEAN-MICHEL FRANK"

164

1933"

c.

1933

x 7 /8" (28 x 20 cm.)

(22 x 14 cm.)

The Ratner Family

(Lunaire).

[?]

Aime Maeght,
lr

Paris

"Alberto Giacometti

i68

169

Self Portrait (Autoportrait).

Pencil, 19V4

Chair (La Chaise). 1940

1937

x iz'/s" (49 x 31.5 cm.)

Pencil, iz

/s

x 9V4" (31.5 x 23.5 cm.)

Lent by Pierre Matisse Gallery,

Collection John Rewald,

New York

Inscribed:

Inscribed:

lr

lr

New York

"Alberto Giacometti

1940"

"Alberto Giacometti

1937"

rx\

/9S Z

165

171

Portrait of Jean-Paul Sartre (Portrait

de Jean-Paul Sartre). 1946
Pencil,

/4

x SVs" (30 x 22.5 cm.)

The Ratner Family

Collection, Ft. Lee,

New Jersey
"Jean-Paul Sartre.";
"Alberto Giacometti 1946."

Inscribed:
lr

ihh

11

Portrait of Georges Bataille (Portrait

de Georges

Bataille).

Pencil, 6Vs

x 5V4" (17 x 13.5 cm.)

Private Collection

Not

inscribed

1947

172

173

Head (Tete). 1947

Two Male Figures and Standing Nude

Watercolor,

18%

(Deux hommes

x 11 Vie"

(47.5 x 28 cm.)

Collection Fogg Art

Pencil, 17V2

Museum, Harvard

University, Cambridge, Massachusetts,

Gift of

Graham Gund and

Inscribed:

lr

Lois Orswell

et

nue debout).

c.

1948

x 11" (44.5 x 28 cm.)

Collection Dr. Eugene A. Solow

Inscribed:

lr

"Alberto Giacometti vers

1948."

"A. Giacometti 47."

M/**>~*

167

174

Men Walking in a Square (Hommes

qui marchent dans une place). 1949
verso: Untitled

Sepia and ink, iz 3/4 x 19 V2"

(32.5x49.5 cm.)
Collection Mr. and Mrs. Alexander

Liberman
Inscribed: recto

1949"

t68

lr

"Alberto Giacometti

175

176

Standing

Woman in an Interior

(Femme debout dans un

interieur).

Man with Hands Outstretched

(Homme avec mains etendus). 1950

1950
Pencil,

verso: Studio Interior (Atelier). 1950

Pencil, zoVfe x

14" (51 x 35.5 cm.)

Collection Wilder Green,

Not

19% x

12V2" (50.2 x 31.8 cm.

Collection John Rewald,

Inscribed:

Ir

New York

"Alberto Giacometti"

New York

inscribed

169

178

177

Head
verso:

Figures in a City Street (Personnages

(Tete). 195

dans

Head (Tete).

Collection, Ft. Lee,

The Ratner Family

New Jersey
Inscribed: recto

ioW

Collection, Ft. Lee,

New Jersey
lr

"Alberto Giacometti
Inscribed:

1951"

1952"

I.
'

170

1952

Lithograph crayon, 14 x
(35.5x26.5 cm.)

Crayon, 15V4 x 11" (38.5 x 28 cm.)

The Ratner Family

la rue).

lr

"Alberto Giacometti

179

180

Henri Matisse. 1954

Pencil,

19^ x

Collection
Inscribed:

iz

A"

(49 x 31 cm.)

Bruno Giacometti
11

"5 VII 54"

Portrait of Douglas Cooper (Portrait

de Douglas Cooper). 1957
Pencil,

25%

x 19V4" (65.5 x 50 cm.)

Collection The Solomon R.

Guggenheim Museum, New York
Inscribed:

lr

"Alberto Giacometti

1957"

171

i8i

Mountain (Le Montagne). 1957

Pencil, i9

/4

x 25 3/i" (50 x 65.5 cm.

Collection The Solomon R.

Guggenheim Museum, New York
Inscribed:

lr

"Alberto Giacometti

1957"

172

182

183

Portrait of Stravinsky (Portrait de

Apples (Les Pomtnes). 1959

Stravinsky). 1957

Pencil, 19V2

Pencil, i6Vs

\z%"

The Ratner Family

(41 x 31.5 cm.)

Collection, Ft. Lee,

New Jersey
Incribed:

lr

Collection Mr. and Mrs. Herbert

Matter,

New York

Inscribed:

"Alberto Giacometti

x izVi" (49.5 x 32.5 cm.)

lr

"Alberto Giacometti

1959"

1957"

173

185

Sketch Page for Sculpture (Une page

Studio with Stele (Atelier avec

d'esquisse pour les sculptures). 1959

i960

Crayon, 14V4 x io l/i" (36 x 26.5 cm.)

Chalk, i3 5/8 x 10V4" (35 x 26 cm.)

The Ratner Family

Collection Bruno Giacometti

Collection, Ft. Lee,

New Jersey
Inscribed:

lr

Not
"Alberto Giacometti

1959"

=;-==**=

174

inscribed

stele).

i86

187

Four Figures and a Head (Quatres

une tete). i960

Little Figure, Large Tree

grand arbre). 1962

Pencil, i9 3/4

Chalk, i3 5/8 x

figures et

x i^Vs" (50 x 35 cm.)

10%"

(Petite figure,

(35 x 17 cm.)

Collection Bruno Giacometti

Collection Bruno Giacometti

Not

Not

inscribed

fc5

inscribed

i-s

Diego's

Diego

Head Three Times

trois fois).

(Tete de

1962

Ball-point pen, 8V4 x 6 1A" (21 x 16 cm.)

Lent by Pierre Matisse Gallery,

New York
Inscribed:

bottom "Pour

a 18 (deja!) Janvier

Pierre Matisse
1962 Alberto

Giacometti"

s?
P
nix liWU-

^
'-

176

190
Figure in Interior (Figure dans
interieur).

Self Portrait (Autoportrait). 1963

1963

Pencil, i9 /8

Pencil, i9 /8
3

i2 /4" (50

x 32.5 cm.

Lent by Pierre Matisse Gallery,

Not
lr

12%"

(50.5

x 32.5 cm.)

The Alberto Giacometti

Foundation

New York
Inscribed:

Collection

inscribed

"Alberto Giacometti

1963"

V"

3*

177

Hotel

Room I (Chambre d'hotel I).

1963
5

Pencil, i9

/s

x 13" (50 x 33 cm.)

The Alberto Giacometti

Collection

Foundation

Not

inscribed

192

Hotel

Room II (Chambre d'hotel II).

1963
Pencil, i9 5/8

Collection

x 13" (50 x 33 cm.)

>

The Alberto Giacometti

Foundation

Not

inscribed

193

Hotel

Room III (Chambre d'hotel III).

1963
Pencil, i9

/8

Collection

x 13" (50 x 33 cm.)

The Alberto Giacometti

Foundation

Not

inscribed

"5?

178

-,

*r

194

195

Hotel

Room IV (Cbambre d' hotel IV).

1963
Pencil, i9

Hotel

Room V (Chambre d'hotel V).

1963
5

/8

Collection

x 13" (50 x 33 cm.)

The Alberto Giacometti

Pencil, i9

/8

Collection

The Alberto Giacometti

Foundation

Foundation

Not

Not

inscribed

x 13" (50 x 33 cm.)

inscribed

179

197

<)(>

Walking
Undated

Man (Homme qui marche).

Walking
Undated

verso: Still Life (Nature morte).

Pencil,

2.5

Vs

Collection

Museum,

x 19 V4" (64 x 49 cm.)

Ball-point pen, 9 x

7%"

The Ratner Family

Collection, Ft. Lee,

Mr. and Mrs. Daniel

Inscribed:

Catton Rich
Inscribed: recto

lr

"Alberto

Giacometti"

^^
40~c/Z

180

(23 x 19.5 cm.)

New Jersey

The Worcester Art

Gift of

Man (Homme qui marche).

lr

"Alberto Giacometti"

Graphics

198
Artist's
I'

Mother Seated (Mere de

artiste assise).

Lithograph,

1963

trial

proof, z$V x i9 5/s"

(65 x 50 cm.)

Collection

The Alberto Giacometti

Foundation
Inscribed:
lr

11

"Epreuve d'essai";

"Alberto Giacometti 1963"

200

199
Artist's

I' artiste lisant).

Lithograph,
(65

Artist's

Mother Reading (Mere de

I'

1963

trial

Lithograph,

proof, z^Vs x 19 Vs"

Collection

The Alberto Giacometti

lr

11

trial

proof, z$Vs x i9 5/8"

The Alberto Giacometti

Foundation

Foundation
Inscribed:

1963

(65 x 50 cm.)

x50 cm.)

Collection

Mother Reading (Mere de

artiste lisant).

Inscribed:

"Epreuve d'essai";

"Alberto Giacometti 1963"

lr

11

"Epreuve

d'essai";

"Alberto Giacometti 1963"

'

*v

JTA.Z

182

202
Artist's
l'

Mother Seated I (Mere de

artiste assise

Lithograph,

1).

trial

Artist's

proof, z$Vs x lyVs"

(Stampa)). 1963

Lithograph,
(65

The Alberto Giacometti

Foundation

lr

Window

artiste a la fenetre

proof, 25 5/s x i9 5/8"

The Alberto Giacometti

Foundation

11

Inscribed:
lr

t>

trial

I'

x 50 cm.)

Collection

"Epreuve d'essai";
"Alberto Giacometti 1963"

Inscribed:

the

(Stampa) (Mere de

(65 x 50 cm.)

Collection

Mother at

196}

11

"Epreuve d'essai";

"Alberto Giacometti 1963"

183

203

204

Interior at

Stampa

(Interieur a Stampa).

1963

Lithograph,

Lithograph,
(65

trial

proof, 25

/s

x -1.9W

x 50 cm.)

Collection

The Alberto Giacometti

Foundation

"Epreuve d'essai";
"Alberto Giacometti 1963"

Inscribed:
lr

Hanging Lamp (La Suspension). 1963

11

(65

trial

proof, Z5 5/s x

19W

x 50 cm.)

Collection

The Alberto Giacometti

Foundation
Inscribed:
lr

11

"Epreuve

d'essai";

"Alberto Giacometti 1963"

...

184

<.

205

2.06

Mother Reading (Mere

Lithograph,

trial

lisant).

proof, Z5

/s

Landscape with Trees (Stampa)

(Pay sage aux arbres (Stampa)). 1963

1963
-19V9,"

Lithograph,

(65 x 50 cm.)

Collection

The Alberto Giacometti

Foundation
Inscribed:
lr

11

trial

proof, 25 5/s x i9 5/8"

(65 x 50 cm.)

Collection

The Alberto Giacometti

Foundation

"Epreuve d'essai";

"Alberto Giacometti 1963"

Inscribed:
lr

11

"Epreuve d'essai";

"Alberto Giacometti 1963"

'*'""
'

[tfflb

/
-

??,<**,. m.

t%

Aa..zy..,

<

185

208

207

Head of a Woman

Head of a Man

(Tete de femme).

1963

Lithograph,

Lithograph,

trial

proof, 25

/s

x i^Vs"

(65

x 50 cm.)

(65

Collection

lr

Inscribed:

"Epreuve d'essai";
"Alberto Giacometti 1963"

lr

11

186

proof,

T.y'/z

x i9 5/8"

The Alberto Giacometti

Foundation

Foundation
Inscribed:

trial

x 50 cm.)

Collection

The Alberto Giacometti

(Tete d'homme). 1963

...

<

11

"Epreuve

d'essai";

"Alberto Giacometti 1963"

zio

2.09

Head of a Man
Lithograph,

(Tete d'homme). 1963

trial

proof,

25% x

i9

5/8"

(65 x 50 cm.)

Collection

The Alberto Giacometti

lr

11

Man

Lithograph,

(Buste d'homme). 1963

trial

proof, z^Vs x lyVs"

(65 x 50 cm.)

Collection

The Alberto Giacometti

Foundation

Foundation
Inscribed:

Bust of a

"Epreuve d'essai";

"Alberto Giacometti 1963"

Inscribed:
lr

11

"Epreuve d'essai";

"Alberto Giacometti 1963"

187

ZII
Self Portrait (Autoportrait). 1963

Lithograph,

trial

proof, z^Vs x i^Vs"

(65 x 50 cm.)

Collection

The Alberto Giacometti

Foundation
Inscribed:
lr

188

11

"Epreuve

d'essai";

"Alberto Giacometti 1963"

2-13

Head of a Young Man

(Tete de jeune

homme). 1963
Lithograph,

trial

Lithograph,
proof,

2.5 /s

x 19VS"

(65 x 50 cm.)

Collection

The Alberto Giacometti

Foundation

"Epreuve d'essai";
"Alberto Giacometti 1963"

Inscribed:
lr

11

In the Mirror

(Dans

trial

le miroir).

1963

proof, z^Vs x lyVg"

(65 x 50 cm.)

Collection

The Alberto Giacometti

Foundation
Inscribed:
lr

11

"Epreuve d'essai";

"Alberto Giacometti 1963"

215

214
Disturbing Object

Disturbing Object

(Objet inquietant

1963

I).

II).

Lithograph,
(65

trial

proof, 25 5/s x 19 Vs"

Lithograph,

x 50 cm.)

Collection

(65

The Alberto Giacometti

Inscribed:
lr

11

(Objet inquietant

trial

proof, z^Vs x i^Vs"

x 50 cm.)

Collection

Foundation

II

1963

The Alberto Giacometti

Foundation

"Epreuve d'essai";

Inscribed:

"Alberto Giacometti 1963"

lr

11

"Epreuve d'essai";

"Alberto Giacometti 1963"

fa"wcS*iH*:

190

.:,^.

.-,tet

216
Standing

bout

Man and Sun (Homme de-

et soleil).

Lithograph,

1963

trial

proof, zsVs x i9 5/8"

(65 x 50 cm.)

Collection

The Alberto Giacometti

Foundation
Inscribed:
Ir

11

"Epreuve d'essai";

"Alberto Giacometti 1963"

191

2I 7
Paris sans fin, Paris, Teriade, 1969
Paris without

End

Portfolio of 150 lithographs

and

text

by Alberto Giacometti
16V4 x iz 3/)" (42.5 x 32.5 cm.)

The Ratner Family

Collection, Ft. Lee,

New Jersey

PARIS
SANS
FIN

'

.-',

urn

!;
.

i
i

192

Selected Bibliography

By

i.

Museum

Angeles County

the artist

July 16-September

"Objets mobiles

muets, Le

et

Surrealisme au service de
no.

3, Paris,

Institute of Chicago,

la revolution,

December 1931, pp.

18-19.

Seven sketches and prose-poem

New version

7.

Exhibition

XXe Steele,

June 1952.,
Carola

Giedion-Welcker, Contemporary

New York, Wittenborn,

1955, revised edition 1961, pp. 308309; Herbert Lust, Giacometti: The

Complete Graphics, New York,

Tudor, 1970, p. 14; James Lord,

March

vol. 56, no. 3,

"Un

service de la revolution, no.

Labyrinthe, no.

in

Art in America,

5, Paris,

Seven Spaces,"

vol. 54, no. 1,

York, January 1966,

p. 87;

translation "Yesterday,

New

English

Moving

Sands," Lucy R. Lippard, Surrealists

New Jersey, Prentice-Hall,

1971, pp. 141-143.

"Palais de 4 heures," Minotaure, no.

December 1933, p. 46.

English translation by Ruth Vollmer

3-4, Paris,

and Don Gifford, "1 + 1 = 3,"

Trans/ formation, vol. 1, no. 3, New
York, 1953, pp. 165-167; New York,

The Museum

of

Modern

Art,

Alberto Giacometti, June 9-October

10, 1965, p. 44. Exhibition cata-

New York, The Museum of

Dada, Surrealism and

Their Heritage,

Geneva, January

Looks

at

Another,"

Paris,

19,

"Ma

Callot," Laby15, 1945,

p. 3.
le

sphinx

et la

March 27-June

1968, p. 195. Traveled to Los

9,

.,"

Derriere

le

mort de T.,"

Verve, vol. VII, no. 27-28,

January 1953, pp. 33-34.

Italy.

and

Geneva, April

"Derain," Derriere
Paris,

Braque, January 15-March 21, 1971,

pp. 13-14. Exhibition catalogue.

rinthe, no. 7,

On

New York, The

Cultural Center, Laurens

On Georges Braque.

"Mai 1920,"

1945, p. 5. On Henri Laurens.

English translation "One Sculptor

cember

1933, pp. 15.44-45English translation by David Gas-

"Poem

4,

"Gris, brun, noir

pp. 2-3, 6-7.

Labyrinthe, no. 22.-23, Geneva, De-

May

Art,

New Jersey,

le

miroir, no. 94-95,

February 1957, pp. 7-8.

realite,"

XXe Siecle, new series,

no. 9, Paris, June 1957, p. 53. English

translation, New York, Pierre Matisse
Gallery, Alberto Giacometti, 1961.

Exhibition catalogue.

"Concerning the Human Image," New

York, The Museum of Modern Art,
New Images of Man, 1959, reprinted
1969, p. 68. Letter to Peter Selz.

15, 1946, pp. 12-13.

Le Surrealisme au

sables mouvants,"

Modern

Art,

January 1952, pp. 71-72.

miroir, no. 48-49, Paris, June 1952,

sculpteur vu par un sculpteur,"

"Le Reve,

logue;

on

Fragments of

Exhibition cata-

"Un Aveugle avance la main dans la

nuit," XXe Siecle, new series, no. 2,
Paris,

New York, Abrams,

1970, p. 26.

"Poeme en 7 espaces," "Le Rideau

brun," "Charbon d'herbe," "Hier,

Art,

Rubin;

Rubin, Dada and Sur-

"A propos de Jacques

"Giacometti: Dubuffet," Bulletin of

the Rhode Island School of Design,

on

S.

letter.

logue.

1968, pp. 252, 254; Lucy R. Lippard,

Surrealists

series, no. 3, Paris,

coyne,

October 19-

195. Exhibition

Prentice-Hall, 1970, pp. 144-145.

after p. 68; Reprinted,

Sculpture,

S.

realist Art,

5-6, 9, 11,13, x 5> J 7-

Giacometti's

with abridged text as

double-page lithograph,

new

8, p.

catalogue. Text by William

William

"Toutes choses"; Reprinted, London

Arts Council Gallery, Giacometti, June
4-July 9, 1955, p.
catalogue.

December

of Art,

The Art

8,

Exhibition catalogue.
"[Premiere] Lettre a Pierre Matisse,"

New York, Pierre Matisse Gallery,

Alberto Giacometti, January 19-

"Paris sans fin," Paris sans fin: ijo

lithographies originates, Paris, Teriade,

1969. Autobiographical texts of 1963-

February 14, 1948, pp. 31-45. Exhibition catalogue. English translation by

64; fall 1965.

Lionel Abel, pp. 29-30, 36, 42, 44.

New English translation, New York,

no.

The Museum

of

Modern

"Notes sur

les

copies," L'Ephemere,

1967, pp. 104-108.

Reprinted with English translation

Art,

Alberto Giacometti, June 9 -October

1, Paris,

by Barbara Luigia La Penta, Luigi

10, 1965, pp. 14-28. Exhibition cata-

Carluccio, Alberto Giacometti:

logue; Reprinted, Herschel B. Chipp,

Sketchbook of Interpretative Drawings, New York, Abrams, 1968, pp.

Theories of

Book by

Modern

Artists

and

Art:

A Source

Critics,

Los

Angeles, University of California

paperback edition
Lucy R. Lippard,
598-601;
pp.
1971,
Surrealists on Art, New Jersey,
Press, 1968, third

VII-XL.

"Tout

cela n'est pas grand' chose,"

L'Ephemere, no.

i, Paris,

1967, p. 102.

Prentice-Hall, 1970, pp. 145-148.

2.

Conversations with the

artist (in

[Deuxieme] Lettre a Pierre Matisse,"

New York, Pierre Matisse Gallery,
Alberto Giacometti, November- De-

Jean Clay, "Giacometti's dialogue with

cember

death," Realites, no. 161, Paris, April

12, 1950, pp. 8, 10, 12, 14, 16,

18, 20, 24. English translation pp. 3,

English)

1964, pp. 54-58, 76. English edition.

193

Emily Genauer, "The 'Involuntary'

Giacometti," New York Herald

Alberto Giacometti, Paris, Maeght,

1962.

Tribune, Magazine Section, June 13,

Jean Genet, L' Atelier d' Alberto

Giacometti, Decine, Barbezat, 1958.

1965, p. 32.

Herbert Matter, Alberto Giacometti: A

Photographic Essay, Basel, Druck-und
Verlagsanstalt, 2 vols. In preparation.

Introduction by Mercedes Matter, text

New edition with photographs by

by Isaku Yanaihara.

Ernst Scheidegger, 1963; Excerpts in

English, Harper's Bazaar, no. 3003,

Franz Meyer, Alberto Giacometti: Eine

Kunst existentieller Wirklichkeit,

1965, pp. 117-126.

New York, February

Frauenfeld-Stuttgart, Huber, 1968.

Alexander Liberman, "Giacometti,"

Vogue, vol. 125, no. 1, New York,

103,153-155,178-179.

Carlton Lake, "The

Wisdom

of

Giacometti," The Atlantic Monthly,

vol. 216, no. 3,

January

1,

Boston, September

1955, pp. 146-151, 178-179-

Giacometti, Milan, Fabbri, 1967.

/ Maestri del Colore, No. 55. Includes
texts

James Lord, A Giacometti Portrait,

New York, Doubleday, 1965.

1962, pp. 102-

Raoul Moulin, Giacometti: Sculpture,

Paris, Hazan, 1964.
English translation by Bettina
Wadia, Giacometti: Sculpture,
London, Methuen, 1964; New York,
Tudor, 1964.

by Henri Coulonges and Alberto

Martini.

French translation, Giacometti,

Pierre Schneider,

"At the Louvre with

Giacometti," Encounter, vol. 26, no.

New York, March

3,

1966, pp. 34-39.

Paris, Hachette, 1967. Chefs-

d'oeuvre de

No.

I' art,

Grands

peintres,

S5-

New York, Athenaeum,

i97i,pp. 191-208.

David

Alberto Giacometti," London, BBC,

III

Giacometti, Milan, Fabbri, 1969.

/ Maestri della Scultura, No. 131.
Includes texts by

Sylvester, "Interview with

Program, September 1964.

The Sunday Times, Magazine Section, London, July 4, 1965,
Excerpts,

Mario Negri and

Antoine Terrasse.
French translation, Giacometti,
sculptures, Paris, Hachette, 1969.

Chefs-d'oeiwre de
peintres,

I' art,

Grands

No. 131.

Douglas Hall, Alberto Giacometti,

London, Knowledge Publications,
1967. The Masters Series, no. 48.

cometti: Schriften, Zeichnungen,

Zurich, Arche, 1958. Includes most of

English translation by John Gabriel,

Alberto Giacometti,

in

French and German.

Giorgio Soavi,

mio Giacometti,

//

Isaku Yanaihara, Aberto Giacometti,

Tokyo, Misusu, 1958.

Zurich, Kunsthaus, Alberto Gia-

cometti Stiftung, Die

Stuttgart, Hatje, 1971.

Monographs

Ernst Scheidegger, ed., Alberto Gia-

Milan, Scheiwiller, 1966.

Reinhold Hohl, Alberto Giacometti,

3.

55.

Giacometti's writings 1931-1952

pp. 19-25.

Alexander Watt, "Conversation with

Giacometti," Art in America, vol. 48,
no. 4, New York, i960, pp. 100-102.

mann, Alberto Giacometti, Bern, Hallwag, 1970. Orbis Pictus No.

Reprinted, Pierre Schneider, Louvre

Dialogs,

Willy Rotzler and Marianne von Adel-

New York,

Sammlung der

Alberto Giacometti-Stiftung, 1971.

Catalogue by Bettina von Meyenburg-

Campbell and Dagmar Hnikova.

English editions. Includes "[Premiere]

Abrams, 1972, London, Thames and

Hudson, 1972; French translation by
H. -Ch. Tauxe and Eric Schaer,
Lausanne, Guilde du Livre et

Lettre a Pierre Matisse," "Alberto Gia-

Clairefontaine, 1971. Contains docu-

cometti en timbre-poste ou en

mentary biography and compre-

Jean-Christoph

hensive bibliography.

lem des Raumes im Werk Alberto

Giacometti," Werk, vol. 53, no. 6,

Ernst Beyeler, ed., Alberto Giacometti,

Beyeler, Basel, 1964.

German, French,

medaillon," by Michel Leiris, excerpts

from interview by Andre Parinaud,
"Pourquoi je suis sculpteur."

Carlo Huber, Alberto Giacometti,

Zurich,

Ex

Andre du Bouchet, Alberto Giacometti,

French translation, Alberto Giacometti, Lausanne, Rencontre, 1970.

Ammann, "Das

Prob-

Renato

Barilli,

"La prospettiva

di

Giacometti," Letteratura, no. 58-59,

1962, pp. 13-23.

Gotthard Jedlicka, Alberto Giacometti

Bucarelli, Giacometti,

Rome,

Editalia, 1962. In Italian, French,

and

als Zeichner, Olten, Biicherfreunde,

i960.

February

Luigi Carluccio, Alberto Giacometti:

Jean Leymarie, Quarantacinque disegni

di Alberto Giacometti, Turin, Einaudi,

Le copie del passato, Turin, Botero,

1963.

1968.

English translation by Barbara

Luigia La Penta, Alberto Giacometti.

A Sketchbook of Interpretative
Drawings,

John Berger, "The Death of Alberto

New Society, London,

Giacometti,"

English.

New York,

Abrams,

1968.

Jacques Dupin, Alberto Giacometti,

Maeght, 1962.

English translation by John Ashbery,

194

and publications

Winterthur, June 1966, pp. 237-240

Rome,

1969.

Paris,

Critical essays

with important reproductions

Libris, 1970.

dessins 1914-1965, Paris, Maeght,

Palma

4.

1966, p. 23.

The Moment
Essays,

James Lord, A Giacometti Portrait,

New York, Doubleday, 1965.

3,

John Berger, "Alberto Giacometti,"

of

Cubism and Other

New York, Pantheon Books,

1969, pp. 112-116.

John Berger, "Giacometti: 1901-1966,"

James Lord, Alberto Giacometti:

Drawings, Greenwich, Connecticut,
New York Graphic Society, 1971.

The Nation, vol. 184, no. 12, New

York, March 21, 1966, pp. 341-342.

Herbert C. Lust, Alberto Giacometti:

Giacometti," La Nouvelle Revue

The Complete Graphics and Fifteen

Drawings,

New York, Tudor,

1970.

Edith Boissonnas,

"A propos

d'Alberto

Francaise, no. 150, Paris, June

pp. 1127-1129.

1,

1965,

Andre Breton, "Equation de l'objet

trouve," Documents 34, new series, no.
1,

June 1934, pp.

Brussels,

Reprinted,

17-2.4, illus.

V Amour fou, Paris, Gal-

limard, 1937, pp. 40-57.

Palma

O del

Prigioniero," L'Europa Letteraria, vol.

Rome,

April 1961, pp. 205-

Robin Campbell, "Alberto Giacometti:

Personal Reminiscence," Studio

Modern

"New Roads

Sculpture," Transition, no.

23, Paris, 1935, pp. 198-201. Trans-

lated by

Eugene

Annual, no.

von Professor Dr. Gotthard Jedlicka,

Artists:

1965.

Heinz Keller, "Ueber das Betrachten

der Plastiken Alberto Giacomettis,"

Werk,

Clement Greenberg, "Giacometti,"

7,

vol. 166, no. 6,

New York,

Harper's Bazaar, vol. 82, no.

Max

New

1,

Paris,

October

1,

September

16, 1965, pp. 10-14.

Arthur Drexler, "Giacometti:

Change
no.

3,

New York, October

B. Hess,

Thomas B.

1949, pp.

Paris,

Schuster, 1968, pp. 182-187.

"Giacometti:

Hilton Kramer, "Reappraisals: Giaco-

The

Blues," Art

vol. 20, no. 1, Detroit, Fall 1961, pp.

49-59,

illus.

Albert E. Elsen, "Introduction,"

Partial Figure in

The

cometti," Art

News,

The

New York, March

vol. 65, no. 1,

1966,

Jahrbuch Die Ernte,

May

1971, pp. 352-356,

Michel

vol. 33,

DuMont

Cologne,

1959, pp.

Leiris, "Pierres

pour un Alberto

le

miroir, no.

English translation of earlier version

"Thoughts around Alberto Giacometti," Horizon, vol. 19, no. 114,

.

New York, June

5,

1949, pp. 411-

417.

1935English translation "Inscriptions

London, July

New York,

of text by Douglas Cooper,

illus.

Anatole Jakovski, 24 essais sur Arp

Giacometti
etc., Paris, Orobitz,
.

119-127.
Forge, "Giacometti,"

3,

39-40, Paris, Maeght, June 1951.

des

Alberto Giacometti," Wallraf-Richartz

Schauberg, 1971, pp. 259-284,

Listener,

Yearbook

152-155.

Giacometti," Derriere

Jahrbuch,

Andrew

Arts

illus.

ruary

no. 169, Paris, January 1967, pp.

13,

Michel Leiris, "Alberto Giacometti,"

Documents, no. 4, September 1929, pp.
209-214, illus. Contains English summary.

illus.

Reinhold Hohl, "Alberto Giacometti:

Atelier im Jahr 1932," Dm, vol. 31, no.
363, Zurich,

York Times, January

Jerrold Lanes, "Alberto Giacometti,"

vol. 42, Basel,

Reinhardt, 1966, pp. 134-150,

New

1966, pp. 22, 24.

p. 35.

Hans Hollander, "Das Problem

Claude Esteban, "L'espace et la fievre,"

La Nouvelle Revue Francaise, vol. 15,

The Age

Hilton Kramer, "Alberto Giacometti,"

B. Hess, "Alberto Gia-

Modern Sculpture

1970. Exhibition catalogue.

Reprinted,

1963, pp. 52-59;

of the Avant-

1973-

York, January 1959, pp. 22-25, 61-62.

from Rodin to 1969, Baltimore, Museum of Art, December 2, 1969-Feb1,

2,

New York, November

&

"The Cultural-Gap
News, vol. 57, no. 9, New

Hess,

Reinhold Hohl, "Alberto Giacometti:

Kunst als die Wissenschaft des Sehens,"

Gerald Eager, "The Missing and the

Mutilated Eye in Contemporary Art,"
Journal of Aesthetics and Art Criticism,

metti," Arts Magazine, vol. 38, no.

Garde: Art Chronicle of 1956-1972,

New York, Farrar, Strauss Giroux,

October 1954, pp. 41-54,

illus.

on a Century of
and

New York, Simon

31.

illus.

Jacques Dupin, "Giacometti, sculpteur

et peintre," Cahiers d''Art, vol. 29,
1,

vol. 46, no. 12,

Art,

illus.

Thomas

no.

News,

Modern

Uses of Adversity," Art News, vol. 57,

no. 3, New York, May 1958, pp. 34-35,
67,

of Space," Interiors, vol. 109,

102-107,

B. Hess, "Spotlight on: Gia-

cometti," Art

The

200, no. 26,

"Giacometti," Render-

ings: Critical Essays

New York, February 1948, p.

Thomas

New York, vol.

Max Kozloff,

Matisse.

1969, pp. 545-557.

Douglas Cooper, "Portrait of a Genius

but," The New York Review of Books,

Contains

June 28, 1965, pp. 710-711.

pp. 27-29.

Jean Clair, "Giacometti le sauveur,"

La Nouvelle Revue Francaise, no. 202,

Winterthur, April

illus.

Kozloff, "Giacometti,"

Nation,

York, January 1948, pp. 110-113.

Photographs by Brassai and Patricia

Thomas

vol. 50, no. 4,

1963, pp. 161-164,

English summary.

1948, pp. 163-164.

p. 47.

Andrew Causey, "Giacometti: Sculptor

with a Tormented Soul," The Illustrated London News, January 22, 1969,

Zurich, Alberto Giacometti Stiftung,

News

York, i960, pp.

64-79, 138-140, illus. Translated by
Richard Howard.

February

articles reprinted,

Alberto Giacometti: Einige Aufsatze

New

3,

April 5, 1964; "Begegnung mit Alberto

Giacometti," Neue Ziircher Zeitung,

January 16, 1966. All

Jolas.

Giacometti," Portfolio and Art

The Nation,

International, vol. 171, no. 874, Lon-

don, February 1966,

in

Paule-Marie Grand, "Today's

Bucarelli, "Giacometti:

2,\no. 8,

Carola Giedion-Welcker,

The

23, 1965, pp.

under Pictures," Axis, no.

London, 1935, p. 17.

1,

Georges Limbour, "Giacometti," Magazine of Art, vol. 41, no. 7, New York,

November

1948, pp. 253-255,

illus.

131-132.

Frank Getlein, "Giacometti and Surrealism,"

no. 10,

The

New Republic, vol.

New York, September 4,

153,

1965,

pp. 31-32.

"Alberto Giacometti: Sculptures

et

20-21, Paris, 1945-1946, pp. 253-268,

No text.

Matisse,"

Neue Ziircher

Zeitung, July

28, 1957; "Alberto Giacometti:

sechzigsten Geburtstag

dessins recents," Cahiers d' Art, vol.

illus.

Gotthard Jedlicka, "Alberto Giacomettis Bildniszeichnungen nach Henri

am

Zum

10.

James Lord, "Alberto Giacometti,

sculpteur et peintre," L'Oeil, no.
Paris,

January

1,

15, 1955, pp. 14-20,

illus.

English translation, "Alberto Gia-

Oktober 1961," Neue Ziircher Zeitung,

October 10, 1961; "Alberto Giacometti: Fragmente aus Tagebuchem

Selective Eye:

1953-1964," Neue Ziircher Zeitung,

dom House,

cometti, Sculptor and Painter,"

The

An Anthology of the

New York,

Ran-

1955, pp. 90-97,

illus.

Best from L'Oeil,

195

James Lord, "In Memoriam Alberto

York, Pierre Matisse Gallery, Al-

Giacometti," L'Oeil, no. 135, Paris,

berto Giacometti: Sculptures, Paint-

March

ings,

1966, pp. 42-46, 67,

illus.

Nicola G. Markoff, "Alberto Giacometti

und

seine Krankheit," Biindner

Jahrbucb,

new

series, no. 9,

Chur,

M.

L. d'Otrange Mastai, "Micromegas

our Midst," Apollo, vol. 75, no. 442,

London, December 1961, pp. 195-196,

L.

d'Otrange Mastai, "Giacometti

Studies,"
no. 638,

The Connoisseur,

vol. 158,

London, April 1965,

p. 279.

Mercedes Matter, "Giacometti: In the

Vicinity of the Impossible," Art

News, vol. 64, no. 4, New York, Summer 1965, pp. 27-29, 53-54, illus.

Harvard Art Review, no.

19-25,

1,

Cam-

James R. Mellow, "Extraordinarily

Good, Extraordinarily Limited," The
New York Times, Sunday, November
1969, p. 29.

Jiri

illus.

Alexander Watt, "Alberto Giacometti:

Pursuit of the Unapproachable,"

Paris,

le miroir,

no. 65,

Maeght, 1954.

metta," Vytv. Umeni, vol. 13, Prague,

1963, pp. 157-165. ["Space in Giacometti's

January 1964, pp. 20-27, illus. Includes

"Photo-finish" by Marianne von

translation by Lionel Abel, "Gia-

Adelmann.

cometti in Search of Space," Art

News,

vol. 54, no. 5,

New

York,

September 1955, pp. 26-29, 63-65;

English translation by Warren Ramsay,

"The Painting

of Giacometti,"

Art and Artist, Berkeley and Los

The

University of Cali-

Roland Penrose, "Alberto Giacometti," Institute of Contemporary

Arts Bulletin, no. 155, London, February 1966, p.

4.

Stuart Preston, "Giacometti,"

New
p.

York Times, December

The

Les ateliers de Brancusi, Despiau, Giacometti," Minotaure, no. 3-4, Paris,

Photographs.

Gerard Regnier, "Orangerie des Tuileries,

Alberto Giacometti," La Revue

du Louvre, no.

4-5, Paris,

York, December
28-29,

1,

5,

1953, pp. 17,

illus.

Isaku Yanaihara, "Alberto Giacometti:

Pages de journal," Derriere

English translation by Benita Eisler,

pp. 18-26.

Maeght,

miroir,

le

May

1961,

New
Christian Zervos, "Notes sur
ture contemporaine:

la sculp-

A propos de la

Pierre Schneider, "Giacometti: His

recente exposition internationale de

men look

sculpture, Galerie Georges Bernheim,

like survivors of a ship-

zine,

June

6,

New York Times Maga-

Paris," Cahiers

d 'Art,

1965, pp. 34-35, 37, 39,

Paris, 1929, pp.

465-473,

42,44-46.

vol. 4, no. 10,

illus.

Christian Zervos, "Quelques notes sur

York, 1954,

les

sculptures de Giacometti," Cahiers

d' Art, vol. 7, no. 8-10, Paris, 1932, pp.

337-342. Contains seven photographs

Man Ray.

p. 14.

by
Robert Smithson, "Quasi-Infinities and
the

Waning

no.

1,

of Space," Arts, vol. 41,

New York, November

1966,

15, 1950,

Maurice Raynal, "Dieu-table-cuvette.

p. 47.

Art Digest, vol. 28, no.

p. 30.

X25.

December 1933,

file,"

no. 127, Paris,

"Jean-Paul Sartre," Situations,

A ProNew

Herta Wescher, "Giacometti:

fornia Press, 1956, pp. 179-194;

Michel Seuphor, "Giacometti and

Sartre," Art Digest, vol. 29, no. 1, New

Work"]

The

Studio, vol. 167, no. 849, London,

limard, 1964, pp. 346-347; English

wreck," The

Padrta, "Prostor v dile Giaco-

ance, Edinburgh, University Press,

Giacometti," Derriere

Mario Negri, "Frammenti per Alberto

July 1956, pp. 40-48,

C. H. Waddington, Behind Appear-

1969, pp. 228-234.

York, Braziller, 1965.

Giacometti," Domus, no. 320, Milan,

illus.

Jean-Paul Sartre, "Les peintures de

Angeles;

2,

for the

Reprinted, Situations IV, Paris, Gal-

illus.

M.

"The Search

Absolute," by Frederick T. Davis,

bridge, 1966, pp. 28-30.

Switzerland, 1967, pp. 65-68.

in

Drawings, 1948, pp. 2-22; new

translation

David Sylvester, "Giacometti: An Inability to Tinker," The Sunday Times

Magazine, London, July 4, 1965, pp.

October

1969, pp. 287-294.

5.

James Thrall Soby, "Alberto Giacometti," The Saturday Review of Literature, vol. 38, no. 32,

August

New York,

1955, pp. 36-37.

James Thrall Soby, "Alberto Giacometti, Modern Art and the New Past,
Norman, Oklahoma, University of
Oklahoma Press, 1957, pp. 122-126.

David

Bryan Robertson, "The Triumph of

Time," The Spectator, no. 7153, Lon-

6,

Sylvester, "Perpetuating the

Transient," London,

The Arts Council

of Great Britain, Alberto Giacometti,

Films

Sumner J. Glimcher,

Stuart

Chasmar

and Arnold Jamson, Alberto Giacometti, New York, Columbia University

Press, 1966 and The Museum of
Modern Art. Color film, 16 mm.
12 min.

Jean-Marie Drot, Alberto Giacometti,

Paris,

ORTF, November 19, 1963;

ORTF, 1966.

revised version, Paris,

Television film series "Les heures

chaudes de Montparnasse." 35 mm.,

46 min.

don, Friday, July 30, 1965, pp. 150-

June 4-July

151.

tion catalogue.

Ernst Scheidegger, Peter Miinger and

David

Jacques Dupin, Alberto Giacometti,

Zurich, Scheidegger and Rialto, 1966.

Jean-Paul Sartre, "La Recherche de

1'absolu," Les

Temps Modernes,

vol. 3,

no. 28, Paris, January 1948, pp. 1153-

The

9, 1955, PP- 3"6. Exhibi-

Sylvester, "Post-Picasso Paris,"

New Statesmen and Nation,

London, 1957,

p.

III,

David

Paris,

Gallimard, 1949, pp. 289-305;

English translation "The Search for
the Absolute," by Lionel Abel,

196

film,

16 and 35 mm., 29 min.

Giorgio Soavi,

1163.

Reprinted Situations

Color

838.

New

"The Residue of a
London, The Tate Gallery,

Sylvester,

Vision,"

Alberto Giacometti, 1965, pp. 19-27.

Exhibition catalogue.

//

sogno di una

testa.

Ritratto di Alberto Giacometti, Lu-

gano, Televisione Svizzera Italiana,

1966. Black and white film, 16 mm.,

29 min.

Selected Exhibitions

Croup Exhibitions 1925-1952

Salon des Surindependants, Paris,

1934-

Group

exhibitions from this period

only are listed as Giacometti's inclusion in

them during

was

these years

extremely significant. Moreover, his

participation in such

was too extensive

to

Salon des Tuileries,

Paris,

May

shows

after

1952

list.

salle des cubistes,

1925.

Salon des Tuileries, Paris,

November

I92-5-

Palais des Beaux-Arts, Brussels,

12-June

3,

May

1934, Exposition Mino-

taure.

Kunsthaus Zurich, October n-November 4, 1934, Was ist Surrealismusl

Copenhagen

- Oslo, January
1935,
Exposition cubiste-surrealiste.

Kunstmuseum, Lucerne, February 24March 31, 1935, These - Antithese -

Exposition des artistes suisses, Paris,

Synthese.

192.5-

Santa Cruz de Teneriffa,

Salon des Tuileries, Paris, 1926.

1935, Esposicion Surrealista.

Salon des Tuileries, Paris, 1927.

The Museum of Modern Art, New

York, March 4-April 12, 1936, Cubism
and Abstract Art.

Galerie Aktuaryus, Zurich, October

23-November 30, 1927, Giovanni und

Alberto Giacometti.

May n-21,

Galerie Charles Ratton, Paris,

May

22-

29, 1936, Exposition surrealiste

Salon des Tuileries, Paris, 1928.

d'objets.

Salon de L'Escalier, Paris, February

The

1928, Artisti Italiani di Parigi.

Galerie Jeanne Bucher, Paris, 1928.
Galerie Zak, Paris, March-April 1929,

New Burlington Galleries, Lon-

don, June 4-July

4,

1936,

The Interna-

tional Surrealist Exhibition.

Un groupe d'ltaliens de Paris.

Kunsthaus Zurich, June 13-July 22,

1936, Zeitprobleme in der Schweizer

Galerie Georges Bernheim, Paris,

Malerei und Plastik.

November
tional de

1929, Exposition interna-

la sculpture.

The Museum

of

York, December
Galerie Wolfensberg, Zurich,

Novem-

Modern

Art,

New

1936-January 17,
1937, Fantastic Art, Dada, Surrealism.
7,

ber-December 1929, Production Paris

1919.

Tokyo, 1937,

Galerie Pierre, Paris, 1930, Miro, Arp,

Giacometti.

Galerie Beaux-Arts, Paris, January-

Galerie Pierre, Paris,

1931,

May

22-June

February 1938, Exposition internatio-

nal du surrealisme.
6,

Ou allons-nous?

Galerie Georges Petit, Paris, October-

November 193 1, Jeunes

Surrealist Exhibition.

artistes

Zurich, May-October 1939, Schweizerische Landessaustellung.

M.A.J. Gallery, Paris, 1940, Art of

d'aujourd'hui.

Our Time.

Maison de

Galeria de Arte Mexicano,

la

Culture, Paris, 1932.

Mexico

Galerie Pierre Colle, Paris, June 7-18,

City, February 1940, Exposicibn Inter-

1933, Exposition surrealiste.

nacional de Surrealismo.

Salon des Surindependants, Paris,

Art of

1933.

October 1942.

this

Century,

New

York,

197

Reid Mansion,

New York,

October

May 6-June

Kunsthalle, Basel,

11,

The

Biennale, Venice, June 16-October

XXXI Esposizione Interna-

1950, Andre Masson, Alberto Giaco-

7,

hibition.

metti.

zionale d 'Arte.

Palais des Papes, Avignon, June 27September 30, 1947, Exposition de

Pierre Matisse Gallery,

19-November

7, 1942, Surrealist Ex-

November

peintures et sculptures contemporaries.

New York,

1950, Sculptures, Paintings,

Drawings. Catalogue with notes and

1962,

Kunsthaus Zurich, December 2-January 6, 1963. Catalogue with introduction by Eduard Hiittinger.

sketches by Giacometti.

Kunsthalle, Bern, February-May 1948,

The

Sculpteurs contemporains de I'Ecole

Galerie Maeght, Paris, June-July 1951.

de

Catalogue with introduction by Michel

Paris.

Museum, Amsterdam,

1948,

13 Beeldbouwers uit Paris.

The

Biennale, Venice, June-October

XXIV Esposizione Internazionale d'Arte.

Washington,
4,

1963.

Galerie Krugier, Geneva, May-July

Leiris.

Stedelijk

Phillips Collection,

D.C., February 2-March

Wittenborn Gallery, New York, September 1952, Alberto Giacometti:

Lithograph Drawings of His Studio.

1963.

Galerie Beyeler, Basel, July-September

1963.

1948,

The Arts Club, Chicago, NovemberDecember 1953.

Libreria Einaude,

Rome, December

1963.

Palazzo Venier dei Leoni, Venice,

September-October 1949, Mostra di

scultura contemporanea.

May 1954. Catalogue with introduction by Jean-Paul

Galerie Maeght, Paris,

Sartre.

Maison de

Summer

la

Pensee Francaise, Paris,

1949, Sculpture de Rodin a

The Arts Council

nos jours.

June4-July

The Royal Academy

The Solomon

of Art,

London,

seum,

195 1, L'Ecole de Paris 1900-1950.

Battersea,

London, 195 1, Second Open

Air Exhibition of Sculpture.

Kunsthalle, Basel, August 30-October
5,

195 2, Phantastiscbe Kunst des

XX

Jahrbunderts.

Kunsthaus Zurich, 1952, Malerei

Paris

The

in

heute.

Institute of

Contemporary

Arts,

London, July 1952, Recent Trends

in

9,

Gallery,

London,

1955.

R.

Museum,

17, 1955.

Krefeld,

12, 1964,

Drawings. Catalogue with introduction by James Lord.

many, 1964, Drawings.

Tate Gallery, London, July 17-August
30, 1965, Alberto Giacometti: Sculp-

Germany, May-June 1955. Traveled

to Kiinstverein fur die Rheinlande und

tures, Paintings,

Westfalen, Diisseldorf, July-August;

Sylvester.

Wurtembergische Kiinstverein,
gart, September 13-October 5.

The Museum

Drawings 1913-1965.
Catalogue with introduction by David

Stutt-

of

Modern

Art,

New

Kunsthalle, Bern, June 16-July 22,

York, June 9-October 10, 1965, Sculpture, Paintings and Drawings. Traveled

1956. Catalogue with introduction by

to

Franz Meyer.

vember 5-December 12; Los Angeles

County Museum of Art, January n-

The

Biennale, Venice, June 19-October

XXV

Realistic Painting.

New York,

Kunstkabinett, Berlin-Weissensee, Ger-

Guggenheim Mu-

New York, June 7-July

Kaiser Wilhelm

Pierre Matisse Gallery,

November 17-December

III Esposizione Internazio1956,

nale d 'Arte.

The Art

Institute of Chicago,

No-

February 20, 1966; San Francisco

seum

of Art,

March

Mu-

10-April 24, 1966.

Catalogue with introduction by Peter

Galerie Maeght, Paris, June 1957, Catalogue with introduction by Jean

One- Man Exhibitions

Galerie Pierre Colle, Paris,
Julien

Levy Gallery,

May

ember 1, 1934, Abstract Sculpture by

Alberto Giacometti.
Art of

this

Century,

Museum, Humblebaek,
Denmark, September 18-October 24,
Louisiana

Genet.
1932.

New York, Dec-

New York, Feb-

ruary-March 1945, Sculptures 1931-

Pierre Matisse Gallery,

May

New York,

Museum, Amsterdam, November 5-December 4, 1965, Alberto

Drawings from 1956-1958.

Stedelijk

Galerie Klipstein 8c Kornfeld, Bern,

Giacometti: Tekeningen.

July 18-August 22, 1959, Alberto

Giacometti: Zeichnungen undGraphik.

The World House

ings

Galleries,

York, January-February i960.

Galerie Maeght, Paris,

1946-1947.
Pierre Matisse Gallery,

May

1961. Cat-

alogue with texts by Olivier Larronde

and Isaku Yanaihara.

New

York,

January 19-February 14, 1948, Exhibition of Sculptures, Paintings, Drawings.

December

1-24, 1961. Catalogue with introduction by Luigi Carluccio.

Pierre Matisse Gallery,

sketches by Giacometti.

December

12-30, 1961.

Kunsthalle, Basel, June 25-August 28,

1966, Gedachtnis

Ausstellung Al-

berto Giacometti. Catalogue with in-

troduction by Franz Meyer.

Kestner-Gesellschaft, Hanover, Octo-

ber

6-November

6,

1966, Alberto Gia-

cometti Zeichnungen. Catalogue with

Galleria Galatea, Torino,

Catalogue with introduction by JeanPaul Sartre, autobiographical text with

198

New

and Drawings 1945-1946.

Galerie Arts, Paris, 1947, Sculptures

1965.

6-31, 1958, Sculptures, Paintings,

1935Galerie Pierre Loeb, Paris, 1946, Paint-

Selz.

New York,

introduction by Wieland Schmied.

Loeb & Krugier Gallery, New York,

December 1-31, 1966, Alberto Giacometti and Balthus Drawings. Catalogue
with introduction by James Lord.

Galerie Engelberts, Geneva,

March

10-

April 1967, Alberto Giacometti: Dessins,

estampes, livres

illustres,

sculptures. Catalogue with references

for catalogue raisonne.

Brook

Street Gallery,

Museo

Civico di Belle Arti, Lugano,

April 7-June 17, 1973,

London, 1967.

italiana

Sidney Janis Gallery,

&

Maurer, Zurich,
April-May 197Z, Alberto Giacometti.
Paris sans fin. Catalogue with introduction by Reinhold Hohl.

Galerie Scheidegger

La Svizzera

onora Alberto Giacometti.

New York, No-

vember 6-30, 1968, Paintings and

Sculpture by Giacometti and Dubuffet.

Tokyo, Galerie Seibu, September 1-18,

Galerie Claude Bernard, Paris, April

1973, Alberto Giacometti exposition

au japon. Traveled to Museum of
Modern Art, Hyogo, Kobe, October
zo-November Z5; Ishikawa Prefectural

17-May 1969, Dessins

Art

Catalogue.

d' Alberto

Museum, December z-January

15,

1974. Catalogue with introduction by

Giacometti. Catalogue with text by

Andre du Bouchet.

Isaku Yanaihara; biographical chro-

nology by Reinhold Hohl.

Musee National de TOrangerie

des

October Z4-January
Catalogue with introduction

Tuileries, Paris,
iz, 1970.

by Jean Leymarie.

Rhode

Island School of Design, Prov-

idence, 1970, Giacometti. Dubuffet.

Catalogue with introduction by James

Lord.

The Milwaukee Art Center, 1970,

Giacometti: The Complete Graphics
and ij Drawings. Traveled to
Albright-Knox Art Gallery, Buffalo;

The High Museum of Art, Atlanta;

The Finch College Museum of Art;
The Joslyn Art Museum, Omaha; The
Museum of Fine Arts, Houston; The
San Francisco Museum of Art. Book
with introduction by John Lloyd
Taylor, text and catalogue raisonne by

Herbert C. Lust.
Galerie Engleberts, Geneva, October

15-December

1 z,

1970, Alberto Giaco-

metti: Dessins, estampes, livres.

Frank

Perls Gallery, Beverly Hills,

California,

November z-December

1970. 36 lithographs

Z3,

and other works

by Alberto Giacometti.

Academie de France, Villa Medici,

Rome, October Z4-December 18, 1970.

Musee Jenisch, Vevey, Switzerland,

July n-September zo, 1971, Sculpture
Suisse contemporaine. Catalogue.

Kunstmuseum, Olten, Switzerland,

January 197Z, Alberto Giacometti.
Paris sans

fin.

Catalogue with intro-

duction by Reinhold Hohl.

Galerie Gerald Cramer, Geneva,

March 10-May

zo, 197Z, Alberto Gia-

cometti. Paris sans fin

livres et gra-

vures.

199

Chronology

1925-26

1901

Born October 10

in

Borgonovo, Gris-

ons, Switzerland in Italian-speaking

First participation in
ries

Salon des Tuile-

where he showed sculpture. Gave

Bergell valley, into a family of artists:

up painting

Giovanni Giacometti was his father,

Cuno Amiet his godfather and Augusto
Giacometti his mother's and father's

but continued to paint in Stampa.

in Paris for

nearly 20 years,

192.7

Moved

into small studio at 46, rue

Hippolyte-Maindron, with his brother

Diego, where he was to live and work

1906

Moved

until his death. Participated in

with family to Stampa, a few

miles south of Borgonovo.

painter-friends; visited Laurens;

Surrealist painting,

1915-19
Attended secondary school
left

group

exhibitions in Paris with Italian

saw

works by

Duchamp-Villon, African, Oceanic,

in Schiers;

before final examinations to

Cycladic and Sumerian sculpture.

work
1928

in father's studio.

shown at Galerie Jeanne

Bucher attracted much attention.
Sculpture

1919-20
Enrolled in

Academy

of Fine Arts,

1929

Geneva, attended painting classes of

David Estoppey; studied sculpture
and drawing at School of Arts and
Crafts, Geneva with Maurice Sarkissoff,
a former associate of Archipenko.

Became

friendly with

Miro, Ernst and

and

Masson,

many

artists associated

Leiris,

other writers

with Surrealism.

Participated in sculpture exhibition at

Galerie Bernheim, Paris; received

ical

crit-

acclaim. Contract with Pierre

Loeb.

1920
Trip to

Italy;

penkos

at

saw Cezannes and Archi-

Venice Biennale, deeply im-

pressed by primitive and Egyptian

Tintorettos and Giottos he

art,

saw during

1930-31
Miro-Arp-Giacometti exhibition
Pierre

Loeb

at

led to his acceptance as a

central figure in Breton's Surrealist

his travels.

circle; participated in its activities

with

Diego
made furniture for Jean-Michel Frank
irregular loyalty. Assisted by

1921
Spent about six months

in

Rome,

for a

number

of years.

studying by himself and sketching in

museums

after early Christian, early

Renaissance and Baroque

1932-33
art.

First

one-man exhibition Pierre Colle

May 1932. Began to work

Gallery,

from the model, broke with Surrealist

1922
January 1. Until 1924
returned every few months to Stampa.
For five years intermittently attended

Arrived

in Paris

Bourdelle's sculpture class at

de

200

la

Grande Chaumiere.

Academie

group.

1934
First

one-man exhibition

Julien Levy Gallery.

in

New York,

1955

1939-41
Associated with Picasso, Sartre, de

Major

Beauvoir.

Council of Great Britain, London; The

retrospectives at

Solomon
1

Left Paris on the last

spent remaining
living

day of 94 1
Geneva,
1

War years in

and working

in hotel

rue de la Terrassiere.

room

and Labyrinthe,
articles.

1946
Returned to

to

Arts

Guggenheim Museum,
growing

interest of private

collectors, particularly in English-

speaking countries.

at

Member of circle

of Albert Skira, publisher of Minotaure

uted

R.

New York;

94^-45

The

which he contrib-

Met Annette Arm.

1958
Received Guggenheim International

Award, Swiss National

Section.

1959-60
Undertaking of Chase Manhattan

Paris.

Plaza project; abandoned in

1947
Encouraged by Pierre Loeb made

summer

of i960.
first

etchings since 1935.

1961

Awarded

1948

one-man exhibition in 14 years

held at Pierre Matisse Gallery, New
First

York; Sartre's interpretation of

his

figure style reprinted in this exhibi-

Pittsburgh International

Sculpture Prize.

1961
Venice Biennale Sculpture Prize.

tion's catalogue influential in identifi-

cation of his

work

as Existential.

1965
Received Grand Prize for Art of the

1949
Married Annette Arm.

City of Paris; honorary Doctor's De-

Second exhibition at Pierre Matisse

Gallery; though invited to participate
in Venice Biennale, withdrew his work
from it; first post-War European retrospective at Kunsthalle Basel. First

Major retroLondon;
Louisiana Museum, Humblebaek, Den-

gree, University of Bern.

spectives at Tate Gallery,

mark; The
visited.

acquisition by a public collection by

Kunstmuseum

Basel through

Emanuel

Hofmann-Funds.

Plaza
of
in

First lithographs

made

at

urging of

Edouard Loeb. Exclusive European

contract with Maeght, who subsequently organized numerous sculpture
and painting exhibitions; regular
sculpture and drawing exhibitions at
Pierre Matisse in New York start. Beginning of association with Samuel
Beckett around this time.

of

Modern

Art,

which Giacometti
Inspected Chase Manhattan

site in

of

New York. Establishment

The Alberto Giacometti Foundation

Zurich, with works drawn from

gifts

1951

Museum

New York, all

from the collection of G. David

Thompson, purchased with private

funds, and gifts from the

exhibition at the

artist,

museums

for

of Basel,

Winterthur and Zurich. Giacometti

Paris

December

1966
Died January 11
tal, Chur.

left

5.

at

Cantonal Hospi-

Photographic Credits

BLACK AND WHITES

Robert

Courtesy Acquavella Galleries,

New York: Cat. no. 117

Mates,

New York:

Cat. nos. 36, 108, 138, 173

Eileen

Courtesy Pierre Matisse Gallery,

Geoffrey Clements: Cat. no. 99

Geoffrey Clements, Courtesy Sidney

New York:

Cat. nos.

Nationaux: Cat. no. 27

George H. Meyer,

ADAGP/Paris

Geneve: Cat. nos.

Cosmopress/
1-4, 6, 7, 9, 12,

14-19, 22, 28, 34, 35, 46, 47, 49, 52-54,

New York:

III,

EKTACHROMES
Foto Adelmann: Cat. no. 113

Cat.

Courtesy Giacometti Foundation: Cat.

Courtesy Milwaukee Art Center: Cat.

Courtesy Musees Nationaux de

Cat. no. 124

France: Cat. no. 30

Herbert Matter: Cat. nos. 101, 127

Museum

Courtesy

of Fine Arts,

Courtesy The Museum of Modern

New York: Cat. nos. 40-45, fig. 2

Art,
Jr.:

Cat. no. 48

Courtesy Fogg Art Museum, Harvard

University, Cambridge, Massachusetts:

Courtesy Nationalmuseum Stockholm:

Cat. no. 23

Courtesy Oeffentliche Kunstammlung

Basel: Fig. 5

Cat. no. 172

Courtesy PepsiCo.,
Courtesy Galerie Beyeler Basel:
Cat. nos. 33, 87, 100, 126, 136

New York:

Inc.,

Purchase,

Cat. nos. 97, 98

Courtesy Frank

Perls, Beverly Hills,

Photo Claude Gaspari, Paris, Courtesy

Galerie Maeght, Paris: Cat. no. 167

California: Cat. no. 151

Hatje Publishers Stuttgart: Cat. no.

graph by A.

153

rapher: Cat. no. 10

The Hirshhorn Museum and Sculpture

Garden, Smithsonian Institution,
Washington, D.C.: Cat. no. 75

Eric Pollitzer: Cat. nos. 40, 55, 93,

Courtesy Sidney Janis Gallery:

Philadelphia

Museum of Art, Photo-

J.

Wyatt,

Staff

Photog-

103-105, 120, 123, 139, 168, 188, 189

Nathan Rabin: Cat.

nos. 162, 175, 176

Cat. no. 96

Courtesy The Reader's Digest Association, Pleasantville, New York: Cat.

Courtesy Kupferstichkabinett der

no. 59

Kunstammlung Basel
Hausaufnahme: Cat. no. 163

Courtesy The San Francisco

Courtesy Albert Loeb and Krugier

Gallery, New York: Cat. no. 169

Ernst Scheidegger, Zurich: Fig. no.

Oeffentlichen

202

Mates and Susan Lazarus:

Robert

Boston: Cat. no. 32

Courtesy William N. Eisendrath,

nos. 8, 13, 31, 60, 63, 70, 122, 147

no. 92

125, 130-132, 140-146, 148-150,

198-215

Paris: Fig. no. 1

cat. nos.

nos. 86, 102

57, 58, 61, 62, 64-69, 71-74, 81, 83-85,

154-161, 179, 185, 186, 190-195,

no,

Cat. no. 107

Foto Vasari Spa, Rome: Cat. nos.

Marc Vaux,

Courtesy Cliche des Musees

Walter Drayer, Zurich, Copyright

Museum of Art:

109, 171

Herbert Matter: Frontispiece,

121,133,177,182-184

Cat. no. 119

Courtesy The University of Arizona

164, 165

11, 21, 38, 56, 82, 89-91,

New York:

New

Tweedy, London: Cat. no. 25

York: Cat. nos. 39, 76, 78-80, 88, 94,

50, 128, 134, 135

Bevan Davies,

no. 137

Robert E. Mates and Susan Lazarus,

New York: Cat. nos. 5, 20, 77, 114,
118, 152, 166, 170, 178, 197, 217

Fig. no. 7

Janis Gallery,

Courtesy Sheldon H. Solow: Cat.

Cat.

181, 196

Courtesy The Art Institute of Chicago:

Kurt Blum:

E.

nos. 24, 29, 37, 51, 129, 174, 180,

Museum

of Art: Cat. no. 106

cat. no.

26

3,

E.

EXHIBITION 74/3

5000 copies of

this

catalogue designed by

have been typeset by

Malcolm Grear Designers

Dumar Typesetting,

Inc.

and printed by The Meriden Gravure Co.

in

March 1974

The Solomon

for the Trustees of

R.

Guggenheim Foundation on

Alberto Giacometti:

the occasion of

A Retrospective Exhibition.

v*

* '>.