alberto giacometti figure drawings
During his surrealist period (c.1929–35) Giacometti neglected, but did not totally abandon, ‘conventional’ perspective and the chiaroscuro drawing technique in favour of a combination of abstract signs and stylised figurative motifs. This technique, which was close to writing, enabled him to translate language processes into his visual works. The presence of the white paper as a ground on which he traced his floating forms became one of his stylistic traits, while a framing line bestowed an overall solidity. These rigorously flat compositions, displaying a typically surrealist expression of anxiety and erotic drive, directly echo his sculptures.
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Giacometti was a key player in the Surrealist art movement, but his work resists easy categorization. Some describe it as formalist, others argue it is expressionist or otherwise having to do with what Deleuze calls “blocs of sensation” (as in Deleuze’s analysis of Francis Bacon). Even after his excommunication from the Surrealist group, while the intention of his sculpting was usually imitation, the end products were an expression of his emotional response to the subject. He attempted to create renditions of his models the way he saw them, and the way he thought they ought to be seen. He once said that he was sculpting not the human figure but “the shadow that is cast”.
The National Portrait Gallery, London’s first solo exhibition of Giacometti’s work, Pure Presence opened to five star reviews on 13 October 2015 (to 10 January 2016, in honour of the fiftieth anniversary of the artist’s death).   From April 2019, the Prado Museum in Madrid, has been highlighting Giacometti in an exhibition.
Giacometti was born and spent his childhood in the village of Borgonovo in Switzerland. It was there, under the guidance of his father who was an impressionist painter, that he began to draw, and where he made his first sculpture, in 1914, of the head of his brother Diego, who would become a lifelong model for Giacometti. He moved to Paris in 1922 to become an apprentice to the French sculptor Antoine Bourdelle, whose formal influence can be seen in The Skull (1923), one of Giacometti’s earliest drawings in the exhibition. The Skull shows the beginning of his obsession with structural form; take a look at the precise, vigorous lines around the eye-socket, for example, how acutely he focuses on dissecting the form’s construction. This can also be seen in his later drawings, such as Self-Portrait (1935), which, although drawn at a different stage in his career, still evidences the analytical eye with which he observed his subjects (in this case, himself).
This exceptional exhibition at Vancouver Art Gallery brings together a bold variety of sculptures, paintings, drawings and lithographs by Alberto Giacometti (1901-66). A Line Through Time examines not only the progress – or line – of Giacometti’s artistic career, from his early works to those produced after the second world war, but also those of his contemporaries. Exhibited alongside Giacometti’s body of work are select pieces from Francis Bacon, Eduardo Paolozzi and Germaine Richier, among others.
Introduction Alberto Giacometti (UK: , US: , Italian: [alˈbɛrto dʒakoˈmetti]; 10 October 1901 – 11 January 1966) was a Swiss sculptor, painter, draftsman and printmaker. Beginning in 1922, he lived and worked mainly in Paris but regularly visited his hometown Borgonovo to see his family and work on his art. Giacometti was one of the most important sculptors of the 20th century. His work was particularly influenced by artistic styles such as Cubism and Surrealism. Philosophical questions about the human condition, as well as existential and phenomenological debates played a significant role in his work. Around 1935 he gave up on his Surrealistic influences in order to pursue a more deepened analysis of figurative compositions. Giacometti wrote texts for periodicals and exhibition catalogues and recorded his thoughts and memories in notebooks and diaries. His self-critical nature led to great doubts about his work and his ability to do justice to his own artistic ideas but acted as a great motivating force.Between 1938 and 1944 Giacometti’s sculptures had a maximum height of seven centimeters (2.75 inches). Their small size reflected the actual distance between the artist’s position and his model. In this context he self-critically stated: “But wanting to create from memory what I had seen, to my terror the sculptures became smaller and smaller”. After World War II, Giacometti created his most famous sculptures: his extremely tall and slender figurines. These sculptures were subject to his individual viewing experience—between an imaginary yet real, a tangible yet inaccessible space.In Giacometti’s whole body of work, his painting constitutes only a small part. After 1957, however, his figurative paintings were equally as present as his sculptures. His almost monochromatic paintings of his late work do not refer to any other artistic styles of modernity. Wikidata Q157194
Introduction Giacometti was a Swiss artist who is best known for his lanky sculptures of solitary figures. At a young age it became apparent he was extremely adept in the fine arts. Encouragement from his father, Giovanni and his godfather, Cuno Amiet (both painters) lead him to pursue an artistic career. Between 1922 and 1925, Giacometti studied at the Académie de la Grande-Chaumiére in Paris. His brother Diego was a furniture designer as well as Giacometti’s model and studio assistant; his brother Bruno was an architect. Nationality Swiss Gender Male Roles Artist, Genre Artist, Portraitist, Painter, Sculptor Names Alberto Giacometti, Alberṭo Gʼaḳomeṭi Ulan 500118871
At the age of fifteen years I was a tall, thin schoolboy. On a train journey to Paris after a visit to the Lascaux caves my mother said to my father that I looked like a Giacometti figure, and as they were going to see him in Paris, they should ask him to do some drawings of me. As a result, a couple of days later I was taken along to Giacometti’s shabby and cluttered studio by my parents and left there.
As an English schoolboy I was slightly alarmed at the thought of posing for a famous French artist, but he simply asked me to sit down in a chair while he silently made a number of drawings. After a couple of hours my parents came back and Giacometti had produced five beautiful drawings. My parents were delighted and said they would like to buy three of them. Giacometti, however, said that he couldn’t possibly sell them as they weren’t good enough. An inconclusive discussion then took place for the next twenty minutes until Giacometti’s girlfriend Annette came into the room, and it was revealed that what she wanted more than anything else in the world was a Marks & Spencer’s mackintosh.