Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"Once the object has been constructed, I have a tendency to rediscover in it--transformed and displaced--images, impressions, facts which have deeply moved me (often without my knowing it), forms which I feel are very close to me, although I am often unable to identify them, which makes them more disturbing to me." Alberto Giacometti, excerpted from Alberto Giacometti: Works/ Writings/ Interviews, published by Poligrafa.
Published by Guggenheim Museum Publications. Edited by Karole P.B. Vail, Megan Fontanella. Text by Valerie Fletcher, Catherine Grenier, Karole P.B. Vail.
A fresh appraisal of Giacometti's output, from painting to sculpture
This comprehensive survey of the work of the Swiss-born modern master Alberto Giacometti offers a fresh and incisive account of his creative output. Published on the occasion of Giacometti’s first major museum presentation in the US in over a decade, the volume brings together nearly 200 sculptures, paintings and drawings to trace the artist’s wide-ranging and hugely innovative engagement with the human form across various mediums.
While Giacometti may be best known for his distinct figurative sculptures that emerged after World War II, including a series of elongated standing women, striding men and expressive busts, this volume devotes equal attention to the artist’s early and midcareer development. It explores his lesser-known engagement with Cubism and Surrealism as well as African, Oceanic and Cycladic art, while also highlighting his remarkable talents as a draftsman and painter alongside his sculptural oeuvre. Of particular focus is Giacometti’s studio practice, which is examined through rarely seen plaster sculptures that highlight the artist’s working process, in addition to historical photographs documenting his relationship with the Solomon R. Guggenheim Museum—which hosted the artist’s first US museum exhibition, in 1955—and with New York City.
Alberto Giacometti was born in Borgonovo, Switzerland, in 1901. In 1922, Giacometti settled in Paris, and began to exhibit his sculptures. By 1930 he was a participant in the Surrealist circle, up until 1934—also the year that he first exhibited in the US, at the legendary Julien Levy Gallery in New York. From 1942, Giacometti lived in Geneva, where he associated with the publisher Albert Skira. In 1948, he was given a solo show at the Pierre Matisse Gallery, New York. In 1955, he received retrospectives at the Arts Council Gallery, London, and the Solomon R. Guggenheim Museum, New York. He received the Sculpture Prize at the 1961 Carnegie International in Pittsburgh. In 1965, retrospective exhibitions were organized by the Tate Gallery, London, The Museum of Modern Art, New York, and the Stedelijk Museum, Amsterdam. Giacometti died in 1966.
Published by National Portrait Gallery. Text by Paul Moorhouse.
Taking its title from Jean-Paul Sartre, who described Giacometti's endeavor to give "sensible expression" to "pure presence," this book explores the artist's work in relation to existentialist ideas. Spanning painting, sculpture, drawing and printmaking, Giacometti's oeuvre ranges from surrealist objects to images of the human figure, with portraits of particular individuals at the center. This book looks at the various phases of the artist's career and explores in detail his depiction of his main sitters, including his mother; Diego his brother; his wife Annette; Jean Genet the playwright; Caroline, a prostitute; and his friends Yanaihara and Lotar. Early drawings, paintings and sculptures of family members and his own image demonstrate Giacometti's awareness of Post-Impressionist and Divisionist styles. From 1946 Giacometti resumed painting and depicting individuals became central to his work. After 1954, when he began making sculpture from life, his portraits expressed a dialogue between painting and sculpture.
Published by Ediciones Polígrafa. Edited by Véronique Wiesinger.
Perhaps the most preeminent sculptor of the twentieth century, Alberto Giacometti (1901–1966) radically transformed the modern vision of art with his attenuated bronze figures whittled down to the very brink of existence. This substantial monograph supplies a new standard overview of his tremendous achievement. A decade-long labor of love by Véronique Wiesinger, Director of the Fondation Alberto et Annette Giacometti in Paris, this book emphasizes the sculptor as a thinker, underlining the philosophical (existentialist) drive of his work and its development away from Surrealism. Wiesinger’s account of Giacometti’s career pursues the artist through a series of formal breakthroughs, each of which produces a more succinct statement on existence and the human figure. At more than 300 pages, and with an abundance of color plates, this handsome volume is the essential Giacometti monograph.
Published by Hatje Cantz. Text by Markus Brüderlin, Julia Wallner, Toni Stooss.
Space does not exist, the Swiss sculptor Alberto Giacometti (1901-1966) wrote in 1949. "It has to be created... Every sculpture made on the assumption that space exists is wrong, there is only the illusion of space." This fascinating statement serves as a conceptual underpinning for Hatje Cantz's new appraisal of the artist's mature work. Giacometti's emaciated sculptures have long been seen as symbols of a newly anxious, frail humanity. But more recently, attention has come to focus on the relevance of his work for contemporary considerations of space and time. Alberto Giacometti: The Origin of Space supplies a comprehensive overview of the later works of this lastingly influential artist, presenting 200 color images of sculptures, paintings and drawings.
Published by JRP|Ringier. Edited by Nadia Schneider. Text by Donat Rütiman, Thierry Dufrêne, Casimiro Di Crescenzo.
Swiss-born sculptor and painter Alberto Giacometti (1901–1966) is best known for the bronzes of ghostly and attenuated figures that made him a key member of the Surrealist movement. This retrospective focuses on the artist's so-called “crisis period” after 1935 and during the Second World War, which coincided with a larger critical juncture for modernism itself. In 1936, Giacometti began to concentrate his attention on the human head, focusing on the model's gaze, and eventually giving his sculptures an extruded appearance. The artist's paintings and drawings underwent a parallel transformation, his heavily reworked figures appearing increasingly emaciated and at a remove from their surroundings. Examining more than 100 key works, the contributors to this volume revisit Giacometti in the light of this “crisis period”; essays by Donat Rütiman, Casimiro Di Crescenzo and Thierry Dufr'ne provide reexaminations of the artist's contribution from a contemporary perspective.
Published by Hatje Cantz. Text by Ulf Küster, Pierre-Emanuel Martin-Vivier, Véronique Wiesinger. Preface by Felix Baumann.
The isolate and emaciated figures of Alberto Giacometti (1901-1966) speak of the extremes of solitude, but the artist's own social and familial world was populous, composed of a greatly and diversely talented family on a par with the Duchamps. Constellating Alberto's parents and siblings around his work and world view, and basing its thesis upon new research, this volume traces the influence of the family upon the art of its most famous member. It shows how Alberto's father, the painter Giovanni Giacometti, encouraged his son from an early age, and how his brothers assisted him in his art: Diego was his assistant and model, and after Alberto's death, he became famous for his bronze furniture, which is now widely collected and often exhibited; he was responsible for the casting (and sometimes the armature) of Alberto's plaster and clay sculptures, and was reputedly so attuned to his brother's work that he could recall the furrows and ridges of Alberto's figures when they were brought to him for restoration in later years. Bruno, the youngest brother, is among Switzerland's most renowned architects (he designed the Swiss pavilion at the 1952 Venice Biennale); and Alberto's mother and wife, and Silvio, the son of his sister Ottilia, were all indispensable models. Through the lens of this book, Giacometti is revealed as an artist deeply informed and very much supported by his family.
This volume from the Art to Read series makes an outstanding introduction to the life and work of this important artist. Alberto Giacometti (1901-1966) was born and raised in Val Bregaglia in Switzerland, but following his studies in Geneva and Rome he lived primarily in Paris. As an artist, Giacometti's earliest affiliations were among the Surrealists, but today his reduced and exposed bronze figures seem much more in sympathy with the Existentialist worldview (particularly as these pieces were developed during and after World War II, and also because of the artist's close friendship with Jean-Paul Sartre). Notoriously self-critical, and always paring back the form at hand, Giacometti labored tirelessly to reconcile humanity's outer appearance and inner condition, never arriving at a satisfactory realization: "If I could make a sculpture or a painting (but I'm not sure I want to) in just the way I'd like to, they would have been made long since (but I am incapable of saying what I want)," he once lamented. "I don't see my sculpture, I see blackness."
Published by Ediciones Polígrafa. Text by Ángel González.
Alberto Giacometti's early Surrealist and Cubist forms, compact volumes inspired by Africa and the Cyclades, eventually led this seminal twentieth-century Swiss artist to acknowledge a formal void that he would spend the balance of his career filling with the human figure. In the mid-1930s, influenced by the terrible social and political changes that were taking place across Europe, Giacometti began to develop heads and nudes in a signature style--they were universally elongated, skeletal, haunting, solitary and above all, transcendent. Giacometti's written testimony and reflections on his change of perspective, and on his artistic ideas and goals, are remarkable for their aptness and poetic quality. In his writings, gathered here, the artist pours out his doubts, his suffering and his creative hopes as very few artists have been capable of doing before or since.
Published by The Museum of Modern Art, New York. Edited and with Essays by Christian Klemm, Carolyn Lanchner, Tobia Bezzola and Anne Umland. Foreword by Glenn D. Lowry, Christoph Becker and Felix Bauman.
One hundred years after his birth and a generation after his death, Alberto Giacometti is recognized as one of the small group of modern masters who dominated art during much of the 20th century. This centennial volume both celebrates his achievement and reexamines his work, contributing to a more focused concentration on the art itself. The Swiss-born Giacometti was a supremely inventive sculptor as well as a painter and draftsman of the highest distinction. Included here are many of his early Cubist-influenced and Surrealist works, often slyly humorous and allusively erotic, as well as his masterful drawings and paintings, and the elongated sculptures of the human head and figure for which he is best known. The book's three essays provide a comprehensive view of Giacometti's work and its multiple levels of meaning, examining his Surrealist years; the artist's unique concept of inner and outer vision; and his career as a whole, in formal and other terms.
Chronologically arranging quotations--from the artist and others--on the subject of Giacometti's life and art, Giacometti: A Biography In Pictures narrates an informal exploration of one of the twentieth century's greatest sculptors. The text is interspersed with wonderful snapshots of the artist at work in the studio (a Gitane invariably gripped in his plaster-stippled fingers), and with reproductions of individual works.