Giacometti, Alberto - Escultura
Spoon Woman, 1926; cast 1954
Bronze
56 5/8 x 20 1/4 x 8 1/2 inches
Solomon R. Guggenheim Museum, New York City
Man And Woman (Construction), 1926-1927 /cast 1954-1956
Bronze
12 3/8 X 7 5/8 X 5 1/8 in (31.5 X 19.3 X 12.9 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Composition (Man and Woman) 1927 /cast ?1964
Composition (Homme et femme)
Bronze
395 x 455 x 150 mm
Tate Gallery, London
The Couple, 1927 /cast 1955
Bronze
23 3/8 x 14 7/8 x 7" (59.6 x 38 x 17.5 cm)
Museum of Modern Art, New York City
Woman, 1928 /cast 1929
Bronze
16 1/8 X 14 7/8 X 3 1/2 in (40.9 X 37.8 X 8.7 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Reclining Woman Who Dreams, 1929 /cast 1959-60
Painted bronze
9 1/4 X 16 7/8 X 5 3/4 in (23.5 X 42.6 X 14.5 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Man, 1929 /cast ca. 1950-1956
Bronze
15 1/2 X 12 1/2 X 3 5/8 in (39.4 X 31.7 X 9.3 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Standing Man, 1929-1930
Painted plaster
26 3/4 X 19 1/2 X 7 3/4 in (68.0 X 49.4 X 19.7 cm)
incl. wood base: 1 3/8 X 16 X 7 3/4 in (3.4 X 40.5 X 19.7 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Objet désagréable à jeter [Disagreeable Object to be Thrown away], 1931
Wood
19.60 x 31.00 x 29.00 cm
National Galleries of Scotland, Edinburgh
Woman Walking (Femme qui marche), 1932
Plaster and iron wire
150 cm high, including base
Peggy Guggenheim Collection, New York City
Woman with Her Throat Cut (Femme égorgée), 1932 /cast 1940
Bronze
9 1/8 x 35 1/16 inches
Peggy Guggenheim Collection, New York City
Walking Woman (Femme qui marche), 1933–34 /cast in 1955
Bronze
151 x 11.25 x 38.1 cm (59 7/16 x 4 7/16 x 15 in)
Museum of Fine Arts, Boston
Head/Skull, 1934
Plaster
7 1/4 X 8 X 8 3/4 in (18.2 X 20.2 X 22.3 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Hands Holding the Void, 1934
Plaster
61 1/2 x 13 1/2 x 11 1/2 in. (156.2 x 34.3 x 29.2 cm)
Yale University Art Gallery, New Haven, Connecticut
Hands Holding the Void (Invisible Object), 1934 /cast c. 1954-55
Bronze
59 7/8 x 12 7/8 x 10" (152.1 x 32.6 x 25.3 cm)
Museum of Modern Art, New York City
Head of Isabel, 1936 /cast ca: 1950-1959
Terracotta
10 7/8 X 8 1/4 X 9 1/8 in (27.7 X 20.8 X 23.2 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Head of Colonel Henri Rol-Tanguy, 1946 /cast ca. 1955-1959
Bronze
10 5/8 X 5 1/8 X 5 1/8 in (27.1 X 13.0 X 12.9 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Head of a Man on a Rod, 1947
Bronze
23 1/2" high (59.7 cm), including bronze base 6 3/8 x 5 7/8 x 6" (16.0 x 14.9 x 15.1 cm)
Museum of Modern Art, New York City
Nose, 1947, cast 1965
Bronze, wire, rope, and steel
31 7/8 x 38 3/8 x 15 1/2 inches overall
Solomon R. Guggenheim Museum, New York City
Standing Woman (“Leoni”) (Femme debout [“Leoni”]), 1947 (cast November 1957)
Bronze
Height including base: 60 1/4 inches; Base: 4 3/4 x 11 13/16 x 19 5/16 inches
Peggy Guggenheim Collection, New York City
Piazza, 1947-1948 (cast 1948-49)
Bronze
8 1/4 x 24 5/8 x 16 7/8 inches
Peggy Guggenheim Collection, New York City
Walking Man II, 1948
Bronze
26 1/2 X 4 1/2 X 11 5/8 in (67.1 X 11.4 X 29.3 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Three Men Walking, 1948-1949
Bronze
Overall: 29 3/4 x 12 1/2 x 13 1/8 in. (75.57 x 31.75 x 33.35 cm)
Dallas Museum of Art, Texas
Three Men Walking II, 1949
Bronze
30 1/8 x 13 x 12 3/4 in. (76.5 x 33 x 32.4 cm)
The Metropolitan Museum of Art, New York City
City Square: Three Figures And A Head (La Place: Trois Figures Et Une Tête), 1950
Bronze
21 3/4 X 22 1/4 X 16 1/2 in (55.3 X 56.3 X 41.9 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Dog, 1951/ cast 1957)
Bronze
17 1/2 X 38 1/8 X 6 1/4 in (44.2 X 96.8 X 15.7 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Standing Nude III, 1953
Bronze
19 3/8 X 4 3/4 X 6 3/8 in (49.0 X 12.0 X 16.2 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Annette, 1953
Bronze
58.4 x 15 x 11 cm (23 x 5 7/8 x 4 5/16 in.)
Museum of Fine Arts, Boston
Bust of Diego with Arms, 1953-1957
Bronze
22 3/4 X 12 7/8 X 9 in (57.8 X 32.5 X 22.7 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Bust of Diego, 1954
Bronze
15 1/4 X 13 1/4 X 8 in (38.6 X 33.7 X 20.3 cm )
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Woman of Venice, 1956
Painted bronze
H. 47 7/8 in (121.6 cm)
The Metropolitan Museum of Art, New York City
Seated Woman, 1956 /cast 1957)
Bronze
19 7/8 X 6 1/8 X 9 1/4 in (50.5 X 15.5 X 23.6 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Bust of Diego, 1957
Bronze
23 7/8 X 9 3/4 X 6 3/8 in (60.6 X 24.8 X 16.0 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Bust of Diego on a Stele II, 1958
Bronze
65 X 8 3/4 X 7 3/8 in (165.1 X 22.2 X 18.8 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Monumental Head, 1960
Bronze
37 X 11 3/4 X 14 3/8 in (94.0 X 29.7 X 36.3 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Tall Figure IV, 1960
Bronze, Edition of 6, Cast No. 1
106-1/2 x 12 x 22 in. (270.5 x 30.5 x 55.9 cm)
Norton Simon Museum, Pasadena, California
Standing Woman, 1961
Bronze
30 1/2 X 5 X 7 5/8 in (77.4 X 12.8 X 19.5 cm)
Hirshhorn Museum and Sculpture Garden, Washington D.C.
Annette IV 1962/ cast 1965
Bronze
578 x 236 x 218 mm, 13 kg
Tate Gallery, London
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O irmão do autor, Diego, (Bust of Diego, 1954) olha em frente com ima intensidade determinada. A cabeça alongada e a manipulação irrequieta da superfície são características de Giocometti, que passou toda a sua vida tentando obsessivamente reproduzir a forma humana, tanto na pintura como na escultura. A textura áspera e irregular das suas esculturas reflete o método desassossegado de construção e destruição do trabalho até se sentir incapaz de continuar. Encarando o espaço como um abismo infinito no qual se situavam as suas personagens solitárias, Giacometti reduzia-as dramáticamente até se tornarem macilentas. Estas personagens definhadas, por vezes sozinhas, por vezes paradas ou a caminhar em grupos silenciosos, expressam uma vulnerabilidade dolorosa. Este sentido de individualismo isolado levou o escritor Jean-Paul Sartre a identificar Giacometti como o principal artista existencialista. Apesar de se ter associado desde cedo aos Impressionismo, Cubismo e Surrealismo, Giacometti não pode ser encaixado em nenhum movimento artístico. Alberto Giacometti nasceu em Borgonovo (SUI) em 1901 e morreu em Chur (SUI) em 1965.
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ALBERTO GIACOMETTI'S YOUTH
Alberto Giacometti was born on October 10, 1901 in Borgonovo in Val Bregaglia, Switzerland near the Italian border. His father was a painter who encouraged his son's interest in sculpture.
After finishing high school, he moved to Geneva to attend the School of Fine Arts. In 1922 he moved to Paris to study at the Académie de la Grande Chaumière in Montparnasse under Auguste Rodin's associate, the sculptor Antoine Bourdelle. It was there that Giacometti experimented with the cubist method. Drawn more to the surrealist movement, after his brother, Diego Giacometti, joined him as his assistant by 1927 Alberto displayed his first surrealist sculptures at Salon des Tuileries. Before long, he was regarded as one of the leading surrealist sculptors of the day.
ALBERTO GIACOMETTI AS AN ARTIST
Living in the creative community of Montparnasse, he associated with artists Joan Miró, Max Ernst and Pablo Picasso, plus writers Samuel Beckett, Jean-Paul Sartre, Paul Eluard and André Breton, and wrote and drew for Breton's magazine Le Surréalisme au Service de la Révolution.
From 1935 to 1940 Giacometti concentrated his sculpting on the human head, focusing on the model's gaze, followed by a unique artistic phase in which his statues became stretched out — their limbs elongated.
During World War II, he lived in the safety of Geneva where he met Annette Arm. In 1946 he and Arm returned to Paris where in 1949 they married. Giacometti's most productive period followed the marriage. His wife provided him with the opportunity to constantly to be in touch with another human body, particularly a feminine one. Models who had posed for him found it a difficult job, but Arm patiently sat for him for hours until he achieved what he wanted.
He soon had an exhibition of his works at the Gallery Maeght in Paris and at the Pierre Matisse Gallery in New York City for which his friend, Jean-Paul Sartre, wrote the catalogue's preface.
By the early 1950s, the use of bronze had become affordable (metals were in short supply during World War II) and Giacometti began to cast his works in bronze.
Obsessed with creating his sculptures exactly as he envisioned through his unique view of reality, to his own consternation and because of his drive for perfection, he carved them very small — many no larger than a pack of cigarettes and almost as thin as nails. A friend of his once said that if Giacometti decided to carve you, he would make your head look like the blade of a knife. However, after his marriage, he was able to make tiny sculptures larger. But the larger that they grew, the thinner they became. Giacometti said that was the way he wanted to represent the sensation he felt when he looked at a naked woman.
Commissioned to design a medallion depicting Henri Matisse in 1954, he created numerous masterful drawings of the great painter in the last months of Matisse's life.
1956 saw a further development in his work when he began to produce paintings of recognizable likenesses.
In 1962, he was awarded the grand prize for sculpture at the Venice Biennale, and the award brought with it worldwide celebrity. Even when he had achieved popularity and his works were in demand, he still reworked models, often destroying them or setting them aside to be returned to years later.
The prints produced by Giacometti are often overlooked but the catalogue raisonné Giacometti - The Complete Graphics and 15 Drawings by Herbert Lust (Tudor 1970) comments on their impact and gives details of the number of copies of each print. Some of his most important images were in editions of only 30 and many were described as rare in 1970.
In his later years, Giacometti creations displayed at a number of large exhibitions throughout Europe. Riding a wave of international popularity, in 1965, despite being in poor health, he traveled to the United States for an exhibition of his works at the New York Museum of Modern Art.
As his last work he prepared the text for the book Paris sans fin, a sequence of 150 lithographs containing memories of all the places where he had lived.
ALBERTO GIACOMETTI'S DEATH
Alberto Giacometti died January 11, 1966 of heart disease and chronic bronchitis at the Kantonsspital in Chur, Switzerland. His body was returned to his birthplace in Borgonovo, where he was interred close to his parents.
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on Segunda-feira, Maio 04, 2009 at 9:58 PM.
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11:24 PMAdorei o olhar blasé de Izabel!
:o)
9:50 PM
Que beleza de pesquisa, muitos trabalhos eram por mim desconhecidos.
adorei ver!!!!
que bom vê-lo de volta.
@dis-cursos
4:37 AM
Muitas eu não conhecia, embora sempre tenha gostado de Giacometti.
Parabéns pelo blog.
11:35 PM
Welcome back!
9:43 PM
É um dos meus escultores favoritos!
3:14 AM
2Hola, hemos agregado un trackback (enlace hacia este artículo) en el nuestro ya que nos pareció muy interesante la información detallada pero no quisimos copiarla, sino que nuestros lectores vengan directamente a la fuente. Gracias... consulta por placa - consulta por cedula - tarjeta en colombia - tarjeta en colombia - tarjeta en colombia
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