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Alberto Giacometti

Alberto Giacometti, Femme qui marche II, 1932–36 (cast 1960) Bronze, height: 59 inches (149.9 cm), edition 3/6, Baltimore Museum of Art, Maryland© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, Femme qui marche II, 1932–36 (cast 1960)

Bronze, height: 59 inches (149.9 cm), edition 3/6, Baltimore Museum of Art, Maryland
© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, Petit homme sur socle, c. 1939–45 Bronze, 3 ⅛ × 2 ¾ × 2 ¼ inches (8 × 6.9 × 5.7 cm), edition 4/8, cast: Fonte Thinot (1973), Foundation Alberto et Annette Giacometti, Paris© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, Petit homme sur socle, c. 1939–45

Bronze, 3 ⅛ × 2 ¾ × 2 ¼ inches (8 × 6.9 × 5.7 cm), edition 4/8, cast: Fonte Thinot (1973), Foundation Alberto et Annette Giacometti, Paris
© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, Le Nez, 1947 Bronze, wire, and steel, 32 × 15 ⅜ × 28 ½ inches (81.3 × 39.1 × 72.4 cm), first cast, not numbered, collection of Samuel and Ronnie Heyman, USA© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, Le Nez, 1947

Bronze, wire, and steel, 32 × 15 ⅜ × 28 ½ inches (81.3 × 39.1 × 72.4 cm), first cast, not numbered, collection of Samuel and Ronnie Heyman, USA
© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, Figure moyenne II, 1947 Bronze with natural patina, 51 ⅛ × 7 × 12 ½ inches (129.9 × 17.8 × 31.8 cm), unique© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, Figure moyenne II, 1947

Bronze with natural patina, 51 ⅛ × 7 × 12 ½ inches (129.9 × 17.8 × 31.8 cm), unique
© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, The Cage (first version), 1949–50 Bronze, 35 ⅝ × 14 ⅜ × 13 ⅜ inches (90.5 × 36.5 × 34 cm), edition of 8© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, The Cage (first version), 1949–50

Bronze, 35 ⅝ × 14 ⅜ × 13 ⅜ inches (90.5 × 36.5 × 34 cm), edition of 8
© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, La Clairière, 1950 Bronze, 23 ⅛ × 25 ¾ × 20 ¾ inches (58.7 × 65.3 × 52.5 cm), edition Fondation A.A. Giacometti, Fondation Giacometti, Paris© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, La Clairière, 1950

Bronze, 23 ⅛ × 25 ¾ × 20 ¾ inches (58.7 × 65.3 × 52.5 cm), edition Fondation A.A. Giacometti, Fondation Giacometti, Paris
© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, Annette debout, c. 1954 (cast 1982) Bronze, height: 18 ¾ inches (47.5 cm), AP I/IV, Foundation Alberto et Annette Giacometti, Paris© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, Annette debout, c. 1954 (cast 1982)

Bronze, height: 18 ¾ inches (47.5 cm), AP I/IV, Foundation Alberto et Annette Giacometti, Paris
© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, Annette assise, 1958 Oil on canvas, 45 ½ × 35 inches (115.6 × 88.9 cm), Detroit Institute of Arts© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, Annette assise, 1958

Oil on canvas, 45 ½ × 35 inches (115.6 × 88.9 cm), Detroit Institute of Arts
© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, La Jambe, 1958 Bronze, 85 ⅞ × 11 ⅞ × 18 ⅜ inches (218 × 30 × 46.5 cm), edition 6/6© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, La Jambe, 1958

Bronze, 85 ⅞ × 11 ⅞ × 18 ⅜ inches (218 × 30 × 46.5 cm), edition 6/6
© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, [Nu debout], 1961 Oil on canvas, 27 ¼ × 19 ½ inches (69 × 49.5 cm)© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, [Nu debout], 1961

Oil on canvas, 27 ¼ × 19 ½ inches (69 × 49.5 cm)
© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, Femme debout, c. 1961 Bronze, 17 ⅞ × 3 ¼ × 4 ⅜ inches (45.4 × 8.2 × 11.4 cm), edition 5/8, cast: Fonte Susse (1993)© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, Femme debout, c. 1961

Bronze, 17 ⅞ × 3 ¼ × 4 ⅜ inches (45.4 × 8.2 × 11.4 cm), edition 5/8, cast: Fonte Susse (1993)
© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, [Head of a Man (Lotar I)], c. 1964–65 (cast 1968) Bronze, 10 ¼ × 11 ⅛ × 4 ⅛ inches (26 × 28.1 × 10.4 cm), EA I/II© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, [Head of a Man (Lotar I)], c. 1964–65 (cast 1968)

Bronze, 10 ¼ × 11 ⅛ × 4 ⅛ inches (26 × 28.1 × 10.4 cm), EA I/II
© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, Buste d’homme assis (Lotar III), 1965 Bronze, 25 ¾ × 11 ⅛ × 14 inches (65.5 × 28.2 × 35.5 cm), edition EA I/II, cast: Fonte Susse (1968)© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti, Buste d’homme assis (Lotar III), 1965

Bronze, 25 ¾ × 11 ⅛ × 14 inches (65.5 × 28.2 × 35.5 cm), edition EA I/II, cast: Fonte Susse (1968)
© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

About

Art interests me greatly, but truth interests me infinitely more.
—Alberto Giacometti

Alberto Giacometti (1901–1966) devoted much of his career to the struggle between matter and meaning, engaging in an extended exploration of how to reduce the figure’s mass as far as possible while imbuing it with essential force. Jean-Paul Sartre wrote that Giacometti’s depictions of humanity are “always mediating between nothingness and being,” his sculptures evoking the emotional intensity of the void. Often considered testimony to the ravages of postwar Europe, Giacometti’s sculptures, paintings, and drawings possess a timeless quality, inflected with art historical and philosophical narratives, from Surrealism and Expressionism to existentialism and phenomenology.

Born near Stampa, in Switzerland’s southeastern Alps, Giacometti grew up surrounded by the dark shadows, glistening lakes, and precipitous roads of the steep mountain range. This geographic intensity would deeply inform his understanding of mortality and time. In 1922 Giacometti moved to Paris, where, growing dissatisfied with his figurative sculptures, he turned to Cubism, dissecting abstract forms and experimenting with negative space. His search for noncorporeal sculptural forms led to planar, abstract works such as Gazing Head (1928), shown in an exhibition at the Galerie Jeanne Bucher in June 1929. This work caught the attention of the Surrealists, whose thinking would influence the form and content of Giacometti’s work, and expanded the ways he approached themes of destruction, materiality, and the uncanny.

Giacometti often used his close companions as models, from his wife Annette to his brother Diego, as well as poets, writers, and fellow artists including Jean Genet and Eli Lotar, requiring them to sit for many hours—often over several weeks—to capture their likeness to his satisfaction. During these long periods of stillness, he would insist that his sitters offer him a presence as attentive as his own.

In the 1950s, beginning with his second exhibition at the Pierre Matisse Gallery in New York, Giacometti started to gain international acclaim as critics, writers, and philosophers recognized his work as an absolute embodiment of his generation. During this period the artist was particularly focused on representations of the female nude, depicting slender, elegiac forms that emphasize the relationship between the body and gravity. Giacometti produced his famed Femmes de Venise (Women of Venice, 1956) for the French Pavilion of the 1956 Venice Biennale, as well as a concurrent retrospective at the Kunsthalle Bern. Sculpting clay over wire armatures, he created around fifteen figures, nine of which were cast in bronze. Departing from his earlier, impossibly thin “visionary” figures, the Femmes de Venise are rendered with a lifelike accuracy, their somber elegance speaking to universal themes of life and death, darkness and light.

Up until his death in 1966, Giacometti pushed the limits of representation, setting into motion ever-unfolding phenomenological investigations that remain at the core of art making today: How can matter—bronze, plaster, charcoal, paint—embody truth? And how, if at all, can art preserve the essence of the living?

Alberto Giacometti

Photo: Gordon Parks/Getty Images

Fairs, Events & Announcements

Jean Cocteau in front of one of the several murals he painted on the walls of Francine Weisweiller’s Villa Santo Sospir, Saint-Jean-Cap-Ferrat, France, 1954. Photo: Edward Quinn

Art Fair

FIAC 2019

October 17–20, 2019, booth B33
Grand Palais, Paris
fiac.com

Gagosian is pleased to participate in FIAC 2019 with Artists on the French Riviera, a special presentation that explores twentieth-century artistic life on the Côte d’Azur. On display are works by Alexander Calder, Jean Cocteau, Alberto Giacometti, Yves Klein, Fernand Léger, Man Ray, Henri Matisse, Francis Picabia, Pablo Picasso, and Edward Quinn, among others.

To receive a PDF with detailed information on the works, please contact the gallery at inquire@gagosian.com. To attend the fair, purchase tickets at fiac.com.

Download the full press release in English (PDF) or French (PDF)

Jean Cocteau in front of one of the several murals he painted on the walls of Francine Weisweiller’s Villa Santo Sospir, Saint-Jean-Cap-Ferrat, France, 1954. Photo: Edward Quinn

Jeff Koons, Sacred Heart (Magenta/Gold), 1994–2007 © Jeff Koons

Art Fair

Art Basel 2019

June 13–16, 2019, booth C9
Messe Basel
www.artbasel.com

Gagosian is pleased to participate in Art Basel, presenting works by Georg Baselitz, Joe Bradley, Alexander Calder, Willem de Kooning, Urs Fischer, Ellen Gallagher, Alberto Giacometti, Katharina Grosse, Mark Grotjahn, Jeff Koons, Man Ray, Albert Oehlen, Pablo Picasso, Richard Prince, Ed Ruscha, Richard Serra, Andy Warhol, Mary Weatherford, Tom Wesselmann, and Franz West, among others.

To receive a PDF with detailed information on the works, please contact the gallery at inquire@gagosian.com. To attend the fair, purchase tickets at artbasel.com.

Jeff Koons, Sacred Heart (Magenta/Gold), 1994–2007 © Jeff Koons

Photo © Succession Alberto Giacometti (Fondation Giacometti, Paris + ADAGP, Paris) 2018

Opening

Giacometti Institute

Opening June 22, 2018
Montparnasse, Paris
www.institut-giacometti.fr

The Giacometti Foundation, Paris, is pleased to announce the opening of the Giacometti Institute, a new permanent space dedicated to exhibitions on the artist, and to art historical research and pedagogy. The institute aims to provide new perspectives on Giacometti’s work and the creative period in which it emerged. It will also include a re-creation of the artist’s studio as the artist left it on his death, in 1966.

Photo © Succession Alberto Giacometti (Fondation Giacometti, Paris + ADAGP, Paris) 2018

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Museum Exhibitions

Installation view, Histoire de corps: Le nu dans l’oeuvre d’Alberto Giacometti, Institut Giacometti, Paris, June 22–November 6, 2019. Artwork © Succession Alberto Giacometti (Fondation Giacometti Paris + ADAGP Paris) 2019

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Histoire de corps
Le nu dans l’oeuvre d’Alberto Giacometti

June 22–November 6, 2019
Institut Giacometti, Paris
www.fondation-giacometti.fr

This show, whose title translates to Narrating the Body: The Nude in the Work of Alberto Giacometti, explores the artist’s representation of the human body, which he considered to be the raison d’être for the artistic gesture. This exhibition focuses on figures of the female nude in his work.

Installation view, Histoire de corps: Le nu dans l’oeuvre d’Alberto Giacometti, Institut Giacometti, Paris, June 22–November 6, 2019. Artwork © Succession Alberto Giacometti (Fondation Giacometti Paris + ADAGP Paris) 2019

Yves Klein, Anthropométrie (ANT 84), 1960 © Succession Yves Klein/ADAGP, Paris 2019. Photo: Muriel Anssens/Ville de Nice

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Préhistoire, une énigme moderne

May 8–September 16, 2019
Centre Pompidou, Paris
www.centrepompidou.fr

This exhibition examines the link between prehistory and modern and contemporary art. It reveals that some of the most important artists of the twentieth and early twenty-first centuries have been haunted by the question, What is prehistory? Work by Alberto Giacometti, Yves Klein, Giuseppe Penone, and Pablo Picasso is included.

Yves Klein, Anthropométrie (ANT 84), 1960 © Succession Yves Klein/ADAGP, Paris 2019. Photo: Muriel Anssens/Ville de Nice

Alberto Giacometti, Simone de Beauvoir, 1946 © Succession Alberto Giacometti (Fondation Giacometti Paris + ADAGP Paris) 2019

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Giacometti
D’après modèle

March 16–June 30, 2019
Musée Toulouse-Lautrec, Albi, France
musee-toulouse-lautrec.com

This exhibition features more than eighty works, realized between the artist’s arrival in Paris, in the 1920s, and the end of his career. The show includes thirty bronze and plaster sculptures, forty-four drawings, and twelve prints. The chronological and thematic unfolding illustrates the essential relationship between Alberto Giacometti’s drawings and his sculptures—the former, as the artist often reiterated, being an indispensable tool for understanding a subject and for aiding perception in general. The show includes Peter Lindbergh’s 2017 photographs of Giacometti’s work in the Fondation Giacometti collection in Paris.

Alberto Giacometti, Simone de Beauvoir, 1946 © Succession Alberto Giacometti (Fondation Giacometti Paris + ADAGP Paris) 2019

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Alberto Giacometti
Une aventure moderne

March 13–June 11, 2019
Lille Métropole Musée d’art moderne, d’art contemporain et d’art brut, Villeneuve-d’Ascq, France
www.musee-lam.fr

Alberto Giacometti’s slender and fragile sculptures capture men and women in moments of dynamism and stillness. In this exhibition, more than 150 works reveal the unparalleled journey of a mythical modern artist.

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Press

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