how did giacometti make his sculptures
As if that in itself was not extremely expressive already, many heavy scratches mark this flat facial surface, indicating facial features.
I see in it the ‘crucified man’ who suffered war and persecution and who emerged, an anguished and lone survivor, from concentration camps. It’s the head, its face, that is central because its expressivity stands out. Above and beyond this, we notice the de-embodiment (or Entkoerperlichung) of the body. Seeing it, it is impossible not to think of starved human beings liberated from the camps.
The second figure inserted into the universe of this sculpture is much smaller; it consists of a relatively big head mounted on a noteworthy throat that sits directly on the ground, growing from it like a ‘cabbage’. (Therefore, ‘De Kool”?)
For a list of the world’s top 100
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– Museum Moderner Kunst Stiftung Ludwig Wien, Vienna, Austria
– Louisiana Museum of Modern Art, Denmark
– Didrichsen Art Museum, Helsinki, Finland
– National Museum of Modern Art, Centre Pompidou, Paris, France
– State Museums of Berlin, Germany
– Stadel Museum, Frankfurt, Germany
– Staatsgalerie Stuttgart, Germany
– Von der Heydt-Museum, Wuppertal, Germany
– Peggy Guggenheim Collection, Venice, Italy
– Kroller-Muller Museum, Otterlo, Netherlands
– Thyssen-Bornemisza Museum, Madrid, Spain
– Kunstmuseum Basel, Switzerland
– Fondation de l’Hermitage, Lausanne, Switzerland
– Kunstmuseum Lucerne, Switzerland
– Beyeler Foundation Collection, Switzerland
– Tate Gallery, London, UK
Alberto Giacometti, (born October 10, 1901, Borgonovo, Switzerland—died January 11, 1966, Chur), Swiss sculptor and painter, best known for his attenuated sculptures of solitary figures. His work has been compared to that of the existentialists in literature.
Giacometti continued to question his artistic path and search for ways to challenge—or equal—reality in sculpture as well as in painting. For him an artwork was to become an almost magical evocation of reality in an imaginary space, as in heads of Diego and figures after his wife Annette (1952–58), executed like apparitions as both paintings and sculptures. His portraits of Caroline or Elie Lotar, his models and friends in the last years (1958–65), are heads and busts gazing intently and made only with lines of force, without contour lines or surfaces. At that point he felt that reality was no longer dependent on being perceived by someone; reality simply was. Like the characters in Samuel Beckett’s novels and plays, Giacometti’s figures represented an isolated, highly individualistic worldview. In 1961 Beckett, his longtime friend and confidant, asked Giacometti to design a set for his absurdist drama Waiting for Godot (published 1953). The final design consisted of a single plaster tree.
Giacometti died in 1966 of heart disease (pericarditis) 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.
A 2011–2012 exhibition at the Pinacothèque de Paris focused on showing how Giacometti was inspired by Etruscan art. 
The ‘belief in the superior reality of certain forms of previously neglected associations’ was central to surrealism, which sought to renew poetic expression by means of images. Giacometti’s notebooks bear witness to his own sensitivity to poetry. He tried his hand at writing poetry under Breton’s influence, but was never comfortable with it: ‘I can express myself only in objects, in sculpture, in drawings (and perhaps in painting)
and, much less well, in poems. Not in anything else.’
In 1933 he published ‘visual poems’ in which unpunctuated fragments of sentences are combined with frames defining ‘spaces’ and a pictogram of a mouth. The preparatory studies for these poems reveal a poetic method of composition that is more graphic than literary, concentrating on the overall visual effect.
Published by Anatole Jakovski in May 1935, just after Giacometti had broken with the surrealists, Composition could be seen as a momentary switch into geometrical abstraction. But the work is simply the result of increased encryption designed to make his work even more esoteric. Without falling completely into abstraction, Giacometti accentuates the play on symbols drawn from various sources to create a meaning that needs deciphering. On the back he made a trial sketch for Composition, a very surrealist work in the style of the 1933 Table. At the same time he was making engravings in an oneiric, surrealist style for Breton’s L’Air de l’eau. Appearances notwithstanding, Composition is thus well and truly a surrealist work. Engraved at a turning point in his career, it can even be understood as Giacometti’s ironic commentary on the temptation of abstraction,