Zeichnungen und Aquarelle. Das Legat Bruno Giacometti
Author: Monique Meyer
Publisher: Schwabe AG
View: 1794Eine aus knapp hundert Zeichnungen und Aquarellen bestehende Werkgruppe Alberto Giacomettis ist 2012, nach dem Tod des Bruders Bruno, als Legat ins Kunsthaus Zürich gekommen. Dieses Zeichnungskonvolut repräsentiert Alberto Giacomettis ganzes Schaffen, von den frühen Jahren in Stampa bis in die Pariser Zeit. Darunter befinden sich Kopien nach Werken Dürers, Mantegnas, Holbeins und Hodlers, die Giacometti bereits zwischen dem 12. und 15. Lebensjahr anfertigte. In den 1920er-Jahren folgten Studien nach romanischen und ägyptischen Plastiken, in den 1930er-Jahren setzte sich Giacometti mit Matisse, Cézanne und Rodin auseinander, wobei sehr eigenwillige Umsetzungen entstanden. Das Buch enthält ausserdem bedeutende Bildnisse von Familienangehörigen und diverse Selbstporträts des Künstlers. Darstellungen von Landschaften bei Stampa und Maloja sowie Atelieransichten und meisterhafte Figurenstudien aus den 1950er- und 1960er-Jahren runden die Auswahl ab.
druckgraphische Werke aus der Sammlung Klewan : Kunstverein Ulm, 11. Februar bis 25. März 2001, Museum Baviera Zürich, 14. Juni bis 26. Juli 2001
Author: Friederike Kitschen,Uta Huber,Irmgard Röcker,Kunstverein Ulm,Gabriele Walter,Museum Baviera
The Art of Relation
Author: Timothy Mathews
View: 2351Alberto Giacometti's attenuated figures of the human form are among the most significant artistic images of the 20th century. Sartre, Breton, and Winnicott are just some of the great thinkers who have drawn upon the graceful, harrowing work of Giacometti, which has continued to resonate with artists, writers, and audiences. In this book, Timothy Mathews explores the themes of fragility, trauma, space, and relationality in Giacometti's art and the texts that respond or refer to them: the novels of W.G. Sebald, Samuel Beckett and Cees Nooteboom, and the theories of Bertolt Brecht, which recasts the iconic L'Homme qui marche as Walter Benjamin's Angel of History. During his lifelong quest to represent the human form, and to locate the humanity at the heart of conflicting conceptions of modernity, Giacometti returned to the key notions of depth and flatness, memory and attachment, through his sculptures and writings. Both a critical study of Giacometti's life and work, and an investigation of their affective power, this book asks what encounters with Giacometti's pieces can tell us about the history of our own time, and our ways of looking; about the nature of human attachment, and the humility of relating to art.
Works, Writings, Interviews
Author: Angel González
Publisher: Poligrafa Ediciones Sa
View: 3055"The first manifestations of Giacometti's talent drew on the by then widespread achievements of the Avant-Garde of the 1920s and '30s. Even so, his forms in the Cubist manner, his compact volumes inspired by Africa and the Cyclades, and his volumes devoid of objects with a symbolic function in the Surrealist spirit led him inexorably around 1935 to acknowledge a flight from a reality that was far beyond reach." "He spent the rest of his life, as this book explains, exorcising this existential and formal void through a return to the human figure. The question that dominated his work was how to restore in art the sense of the presence of the being in space. Giacometti sought to establish his contingent volume, which became increasingly slender and threadlike, and to seize its finiteness in a reality, however banal it might be. He began to develop heads and nudes modeled in the void, in that experience of nothingness that opposed his quest for the absolute, a metaphor of the human condition." "Giacometti's written testimony and reflections, including those from his Surrealist period, are remarkable for their aptness and their poetic quality. In them he pours out his doubts, his suffering and his hopes as a creator as artists have rarely been capable of doing." "The reproductions include: Silent Mobile Objects (1931); I Can Only Speak Indirectly of My Sculptures (1933); and Letter to Pierre Matisse (1948). The book also reprints two interviews: one with Pierre Schneider, My Long March (1961), and the other with Andre Parinaud, Why Am I a Sculptor? (1962)."--BOOK JACKET.