June 8-September 12, 2018 Solomon R. Guggenheim Museum · 2019-12-16 · Giacometti was born in the Swiss village of Borgonovo. His father, Giovanni, a recognized Post-Impressionist

PRESS IMAGES

GiacomettiJune 8-September 12, 2018Solomon R. Guggenheim Museum

Online Photo Service for Press Images

Images for current exhibitions may be downloaded free of charge through our website• Visit guggenheim.org/pressimages• Enter the following password: presspass• Select the desired exhibitionAll images are accompanied by full caption and copyright information.The publication of images is permitted only for press purposes and with the corresponding credit lines.Images may not be cropped, detailed, overprinted, or altered.E-mail [email protected] with any questions.

Alberto GiacomettiSpoon Woman (Femme cuillère), 1927 (cast 1954)Bronze, 143.8 x 51.4 x 21.6 cmSolomon R. Guggenheim Museum, New York 55.1414© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

1 | Giacometti

Alberto GiacomettiHead of a Woman (Flora Mayo) (Tête de femme [Flora Mayo]), 1926Painted plaster, 31.2 × 23.2 × 8.4 cmFondation Giacometti, Paris© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

2 | Giacometti

Alberto GiacomettiThe Nose (Le nez), 1949 (cast 1964)Bronze, wire, rope, and steel, 81 x 71.4 x 39.4 cmSolomon R. Guggenheim Museum, New York 66.1807© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New YorkPhoto: Kristopher McKay © The Solomon R. Guggenheim Foundation

Alberto GiacomettiSuspended Ball (Boule suspendue), 1930–31Plaster, painted metal, and string60.6 x 35.6 x 36.1 cmFondation Giacometti, Paris© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto GiacomettiSurrealist Composition (Composition surréaliste), ca. 1933Ink on paper, 19 x 14.4 cmFondation Giacometti, Paris© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto GiacomettiDog (Le chien), 1951 (cast 1957)Bronze, 44.2 x 96.8 x 15.7 cmHirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C., Gift of Joseph H. Hirshhorn, 1966© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New YorkPhoto: Cathy Carver, courtesy Hirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.

3 | Giacometti

Alberto GiacomettiCaroline in a Red Dress (Caroline avec une robe rouge), ca. 1964–65Oil on canvas, 92.3 x 65.4 cmFondation Giacometti, Paris© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto GiacomettiWalking Man I (Homme qui marche I), 1960 (cast 1982)Bronze, 180.5 x 27 x 97 cmFondation Giacometti, Paris© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Alberto Giacometti painting in his Paris studio, 1958Photo: Ernst Scheidegger© 2018 Stiftung Ernst Scheidegger– Archiv, Zürich

Alberto Giacometti painting in his Paris studio, 1958Photo: Ernst Scheidegger© 2018 Stiftung Ernst Scheidegger– Archiv, Zürich

4 | Giacometti

Alberto GiacomettiStanding Nude on a Cubic Base (Nu debout sur socle cubique), 1953 Painted plaster43.5 x 11.7 x 11.8 cm Fondation Giacometti, Paris© 2018 Alberto Giacometti Estate/Licensed by VAGA and ARS, New York

Installation view: Giacometti, Solomon R. Guggenheim Museum, New York, June 8–September 12, 2018. Photo: David Heald © Solomon R. Guggenheim Foundation, 2018



5 | Giacometti





https://www.guggenheimstore.org/books/exhibition-catalogues/giacometti

https://www.guggenheim.org/calendar

https://www.guggenheim.org/calendar

http://www.guggenheim.org/new-york/calendar-and-events/series/curators-eye

https://www.guggenheim.org/event/event_series/minds-eye

https://www.guggenheim.org/films

http://www.guggenheim.org/new-york

https://www.guggenheim.org/

http://www.guggenheim.org/social

http://www.guggenheim.org/pressimages

“I am very interested in art but I am instinctively more interested in truth. . . . The more I work, the more I see differently.”

A preeminent artist of the twentieth century, Alberto Giacometti (1901–1966) investigated the human figure for more than forty years. This comprehensive exhibition, a collaboration with the Fondation Giacometti in Paris, examines anew the artist’s practice and the unmistakable aesthetic vocabulary he developed through his experiments in painting, sculpture, and drawing.

Giacometti was born in the Swiss village of Borgonovo. His father, Giovanni, a recognized Post-Impressionist painter, introduced him to painting and sculpture at a young age. Giacometti moved to Paris in 1922 and eventually settled in a 15-by-16-foot studio in the artists’ quarter of Montparnasse. He produced the greater part of his oeuvre in this tiny space, which he maintained until the end of his life. Giacometti’s brother Diego, also an artist, became his assistant; he and Annette Arm, whom Giacometti wed in 1949, were the artist’s most frequently rendered models.

During his early years in Paris, Giacometti pursued a deep interest in Cubism and a fascination with the unconscious and dream imagery that led to his association with the Surrealists. African, Cycladic, Egyptian, and Oceanic art captured his attention as well, influencing the formal development of his figures. In the late 1930s he began sculpting pocket-size heads and figures in which he explored perspective and distance; these spatial concerns would remain paramount throughout his career. Giacometti may be best known, however, for the painted portraits and distinctive

sculptures that he created in the late 1940s. These innovative works, including a series of elongated standing women, striding men, and expressive busts, resonated strongly with a public grappling with the extreme alienation and anxiety wrought by the devastation of World War II. Giacometti was unflinching in his portrayal of humanity at its most vulnerable.

The Solomon R. Guggenheim Museum and Foundation has a long history with Giacometti. In 1955 the artist’s first museum show was presented in New York at the institution’s temporary quarters on Fifth Avenue. Noting divergent opinions on Giacometti’s art at that moment, one critic recognized the director James Johnson Sweeney for continuing “his program at the Guggenheim Museum of bringing forward the most controversial work of the time.” In 1974 the Guggenheim mounted a posthumous retrospective in its Frank Lloyd Wright–designed rotunda. The present exhibition, featuring major works in bronze and in oil, as well as plaster sculptures and drawings never before seen in this country, aims to provide a deeper understanding of this artist, whose intensive focus on the human condition continues to provoke and inspire new generations.

Organized by Megan Fontanella, Curator, Modern Art and Provenance, Solomon R. Guggenheim Museum, and Catherine Grenier, Director, Fondation Giacometti, Paris; with support from Mathilde Lecuyer-Maillé, Associate Curator, Fondation Giacometti, and Samantha Small, Curatorial Assistant, Guggenheim Museum

300+kids

#Giacometti

Casting Giacometti’s Sculpture

Before his sculptures were cast in plaster for exhibition, Alberto Giacometti constructed models from clay. Beginning in the 1940s, he also made several works directly with plaster that he modeled around an armature, often reworking them with a pocketknife or highlighting them with paint. A select few pieces were cast in bronze in 1929, but, due to limited funds, it was not until 1940 that Giacometti returned to the medium, when Woman with Her Throat Cut (Femme égorgée, 1932) was produced in bronze for the collector Peggy Guggenheim. With his 1947 show in New York at the Pierre Matisse Gallery, the artist started casting in bronze more methodically.

The standard process would have been to make an intermediary plaster for the foundry, but Man Pointing (Homme qui pointe, 1947) and Walking Man (Homme qui marche, 1947) were cast in bronze directly from their original plaster sculptures created that same year. Giacometti explained: “In order to cast them [the foundry] cut them off from their bases, and in certain cases they even cut off the arms or a leg. The plasters have to be reassembled, but before that a mold has to be made that can remain at the foundry in order to make more casts.” This alteration to the original plaster compelled the artist to begin creating one plaster (or several different versions)

to “exist as the original” and another plaster for the foundry to use for casting. Nonetheless, Giacometti continued to send his original plasters to the foundry and exhibited these examples afterwards notwithstanding the coat of shellac, a parting compound the foundry applied during casting. Depending on the foundry and the period of Giacometti’s work, bronzes were produced through either the sand-casting method or the lost-wax technique. In both instances, when the bronze emerged from the mold, the surface would be rough with mold lines and require finishing.

Diego Giacometti, the artist’s brother and his studio assistant, was involved in the creation of the bronze casts beginning in 1930. Diego made the plaster casts from Giacometti’s clay molds, produced the underlying armatures, and supervised the final patina application. After Giacometti’s death in early 1966, his widow Annette completed the cast bronzes that he had started toward the end of his life, and Diego supervised the posthumous editions of the decorative art objects until his death in 1985.

Throughout the present exhibition, the labels that accompany bronzes include the modeling date for the original form, with the casting date in parentheses.

Chase Manhattan Plaza, New York

In December 1958, through his New York art dealer Pierre Matisse, Giacometti was invited to submit a proposal to a competition for a monument to be installed in the plaza of the new Chase Manhattan Bank skyscraper, near Wall Street in Lower Manhattan. Three months later, the building’s architect, Gordon Bunshaft, sent Giacometti the dimensions for making a model of the plaza to help him imagine the space. Giacometti decided to use three motifs that had preoccupied him since 1948: a gigantic standing female figure, a large walking man, and a monumental head (to be set directly on the ground) arranged in relation to one another.

Giacometti withdrew from the competition in 1961 because, among other concerns, he could not reconcile the scale of his figures with the towering structures that would have

encircled them. Nevertheless, the project motivated Giacometti to refine what would become some of his most emblematic works, and he exhibited a bronze version of this set at the 1962 Venice Biennale. Another version was installed in 1964 in the courtyard of the Fondation Maeght in southern France.

Giacometti eventually visited the Chase Manhattan Plaza during his first trip to New York in 1965. On more than one evening, he spent time there arranging his wife, Annette, Bunshaft, and his friend and biographer James Lord in different groupings to evoke his unrealized monument. Ultimately, Giacometti considered that a single standing woman might have been the most effective monument of all.

Chase Manhattan Plaza, 1960s. Photo: Ezra Stoller © Ezra Stoller/Esto

Early Years in Paris

Giacometti arrived in Paris in 1922 to study under the classically inspired sculptor Antoine Bourdelle, but his discovery of the innovative work of Constantin Brancusi, Henri Laurens, Jacques Lipchitz, and Pablo Picasso soon led him to put aside traditional training. He appropriated Cubism’s principles of geometric construction to develop a personal formal vocabulary. The increasingly sophisticated abstraction of Giacometti’s sculpture culminated in the 1928–29 “plaques,” whose polished surfaces are lightly engraved or sculpted. These highly abstracted renderings of human forms carry titles that are equally succinct—Man, Woman, Gazing Head. Exhibited in 1929, the plaques earned Giacometti his first critical success and the attention of the avant-garde.

Giacometti also pursued the investigation of language and dreams promoted by the Surrealists, who were led by the French poet and writer André Breton. He associated with the so-called dissidents who gathered around the French intellectual and writer Georges Bataille, and in 1930, he became an official member of the Surrealist group. Giacometti continued to make his “object-sculptures,” as he called them, until 1934, many of which verge on abstraction while maintaining a connection with figuration.

Sculptures from the 1920s and 1930s in Giacometti’s studio in Maloja, Switzerland, ca. 1945 (detail). Photo: Ernst Scheidegger © 2018 Stiftung Ernst Scheidegger-Archiv, Zurich

Return to Figuration

In 1935 Giacometti distanced himself from the Surrealist movement and its emphasis on the unconscious, and he returned to working from the live model. His brother Diego posed for him every day while the sculptor explored various techniques, eventually beginning to experiment with an expressive manner that would develop into his mature style. Giacometti’s interest in depicting the human form was also evident in his painting, a medium he took up again following a hiatus of a few years.

The German army marched into France in May 1940 and occupied Paris by June. In late December of the following year, Giacometti traveled to Geneva to visit his mother and was unexpectedly denied permission to reenter France. Diego maintained the Paris studio while Giacometti stayed in Geneva, living and working in a hotel room. There, he continued to reduce the size of his plaster sculptures, scraping them down to a height of mere inches. Many of these diminutive works are busts or female figures standing on massive bases, the latter inspired by his memory of the silhouette of a woman observed from a distance on the street. Other figures represent Giacometti’s young nephew Silvio, who posed for the artist. These miniaturized forms may be read as either an exploration of perception—that is, how one reads distance and scale—or a consequence of his compulsion for reworking and reducing his figures during this uncertain period of dislocation.

Giacometti’s studio at 46, rue Hippolyte-Maindron, Paris, 1948 (detail). Photo: Emmy Andriesse, courtesy Collection Stedelijk Museum, Amsterdam

Modern Urban Experience

With the end of World War II in September 1945, Giacometti was free to return to Paris. In his studio at 46, rue Hippolyte-Maindron, he embarked upon the most productive period of his career. Existentialism, a philosophy that emphasizes an individual’s free will and self-determinacy, was then prevalent in intellectual circles and inspired the themes that Giacometti explored as he grappled with the trauma of death. He began to create figures that were increasingly elongated, emphasizing their solitary nature and a sense of isolation; he further underscored these effects by reintroducing the cage motif, which he had originally used during his Surrealist period. Giacometti also felt a compulsion to paint, and he compensated for the scarcity of materials by covering a single canvas with numerous small paintings and then cutting the canvas up to form the individual works.

Modern urban experience fascinated Giacometti. He stated, “In the street people astound and interest me more than any sculpture or painting. Every second the people stream together and go apart, then they approach each other to get closer to one another. They unceasingly form and re-form living compositions in unbelievable complexity. . . . It’s the totality of this life that I want to reproduce in everything I do.” Giacometti was inspired to create new compositions evoking the movement of groups or solitary figures. The resulting works feature several totemic figures positioned on a large slab, thus extending his consideration of the traditional role of the pedestal.

Giacometti’s studio at 46, rue Hippolyte-Maindron, Paris, with display of small sculptures and the artist’s sketches on the wall, after 1960 (detail). Photo: Herbert Matter, courtesy the Department of Special Collections, Stanford University Libraries, California

The Quest for Likeness

When Giacometti returned to Paris in late 1945 the reunion with his friends spurred a renewed preoccupation with portraiture as he worked to record the faces of those who had been long absent due to the war. Additionally, Annette Arm, whom Giacometti had met while in Switzerland, arrived in Paris in 1946; the two married in 1949, and she sat for him daily. Relentlessly driven by a quest for “likeness,” the artist subjected his models to long and arduous sittings, requiring them to stay completely still while he engaged them in animated conversation. He applied himself to a work with fury, and perenially dissatisfied he would sometimes redo a portrait from memory or other times destroy it altogether.

Giacometti continued to explore a restricted number of subjects—namely, the people closest to him—by reprising figures from different vantage points and employing contrasts of scale to create an impression of distance. The silhouette and features of his favorite models appear in large nudes and more generic heads that he flattened, distorted, elongated, and reduced in various ways. As the shock of the war years abated, Giacometti’s heads eventually lost this expressive quality, and the artist instead concentrated on the gaze. In many of these pieces, the face of his brother is recognizable. Beginning at this time and continuing in to the 1960s, Giacometti reduced his chromatic range to shades of gray, producing a body of enigmatic “dark paintings” whose subjects are heads, landscapes, and interiors.

Giacometti’s studio at 46, rue Hippolyte-Maindron, Paris, with display of small sculptures and the artist’s sketches on the wall, after 1960 (detail). Photo: Herbert Matter, courtesy the Department of Special Collections, Stanford University Libraries, California

Last Works

Giacometti underwent surgery for stomach cancer in 1963, and the death of his mother followed a year later. The specter of these brushes with mortality haunts his subsequent work, which seems infused by his meditations on death and loss. Several male busts combine the features of Diego’s face and those of his last male model, the photographer Eli Lotar. The heads of these sculptures, with chins projected forward, rise from magma-like shoulders that are sometimes emaciated, sometimes swollen like mountains. Another series of busts represents Giacometti’s wife, Annette, in varying degrees of wholeness.

Among the intellectuals who posed for Giacometti during the last decade of his career was the Japanese existentialist philosopher Isaku Yanaihara, who sat for the artist over a total of 230 days for five to eight hours at a time. These portraits shed light on a fraught moment in Giacometti’s career, which some historians have called the “Yanaihara crisis,” when the artist was wracked with insecurity and doubt about his ability to accurately transcribe onto canvas the reality he saw before him.

A young woman who called herself Caroline posed for Giacometti between 1960 and 1965. These portraits exhibit the extreme reduction that he had been refining since the latter 1940s; in these works the space of the studio is barely legible, and both Caroline’s form and her intense gaze are defined by a series of schematic lines.

In early December 1965 Giacometti traveled to Switzerland to seek medical attention. On January 11, 1966, at the age of 64, he succumbed to heart disease. During the last decade of his life, even though he had achieved critical and financial success, Giacometti continued to work late into the night in the same modest studio he had occupied in Paris since the 1920s, doggedly pursuing his intensive investigations in art in all manner of materials. “I have the feeling, or the hope, that I am making progress each day,” he stated. “That is what makes me work, compelled to understand the core of life.”

Head of the Father (Mask)(Tête du père [Masque])

1927–29Plaster

Head of the Father, Flat I(Tête du père, plate I)

1927–30Plaster

Head of the Father, Round II(Tête du père, ronde II)

1927–30Plaster with graphite

Crouching Figure(Personnage accroupi)

Ca. 1926Plaster

Head of a Woman (Flora Mayo)(Tête de femme [Flora Mayo])

1926Painted plaster

303 +Kids

Stele(Stèle)

1925–27Painted plaster

All works Fondation Giacometti, Paris

Untitled

Ca. 1931–32Marble

Disagreeable Object(Objet désagréable)

1931 (cast 1961)Bronze

Disagreeable Object to Be Thrown Away(Object désagréable à jeter)


Pocket Tray(Vide-poche)

Ca. 1930–31Painted plaster


From left to right:

Composition

1927–28Plaster

Cubist Composition II(Composition dite cubiste II)

Ca. 1927Plaster

Cubist Figure I(Figure dite cubiste I)

Ca. 1926Plaster

The Couple(Le couple)

1927Plaster

305

Composition (known as Cubist I) (Couple)(Composition [dite Cubiste I] [Couple])

1926–27Original plaster reworked with penknife


Gazing Head(Tête qui regarde)

1929Plaster with traces of graphite

Woman (Flat V)(Femme [Plate V])

Ca. 1929Plaster

Woman (Flat III)(Femme [Plate III])

1928–29Plaster

Woman Flat II(Femme [Plate II])

1928–29 (cast 1970)Bronze


From left to right:

Figurine

Ca. 1947 (cast 1976)Bronze

Head of a Man(Tête d’homme)


Head of a Man on a Rod(Tête d’homme sur tige)


Head of Diego(Tête de Diego)

Ca. 1946Plaster


Ca. 1946Plaster

Head of Simone de Beauvoir(Tête de Simone de Beauvoir)

Ca. 1946Plaster

Simone de Beauvoir

1946Plaster

311

Small Head of Marie-Laure de Noailles on a Base(Petite tête de Marie-Laure de Noailles sur socle)


Small Bust of Annette(Petit buste d’Annette)

Ca. 1946Painted plaster


Head of a Woman (Rita)(Tête de femme [Rita])

1936Plaster


Ca. 1935Wood with graphite


1936Plaster

Head of Diego on a Double Base(Tête de Diego sur double socle)

Ca. 1936–37 (cast by 1966)Plaster and bronze

Small Head of Diego(Petit tête de Diego)

Ca. 1936Plaster


Ca. 1934Plaster

Head of Isabel (The Egyptian)(Tête d’Isabel [L’Égyptienne])

1936Plaster


The typeface applied to the title of the exhibition and its accompanying catalogue, Giacometti, was developed by the Geneva graphic design studio Gavillet & Cie with type designer François Rappo and based on the typeface used in Herbert Matter’s 1987 book of photographs of Alberto Giacometti’s studio. Matter (1907–1984), a Swiss-born photographer and graphic designer, has an early association with the Solomon R. Guggenheim Museum. From the 1950s to the 1960s, he worked closely with the museum on designs for all of its printed material: invitations, posters, and especially catalogues.

The typeface applied to the title of the exhibition and its accompanying catalogue, Giacometti, was developed by the Geneva graphic design studio Gavillet & Cie with type designer François Rappo and based on the typeface used in Herbert Matter’s 1987 book of photographs of Alberto Giacometti’s studio. Matter (1907–1984), a Swiss-born photographer and graphic designer, has an early association with the Solomon R. Guggenheim Museum. From the 1950s to the 1960s, he worked closely with the museum on designs for all of its printed material: invitations, posters, and especially catalogues.

Black Annette(Annette noire)

1962Oil on canvas Fondation Giacometti, Paris

Giacometti met Annette Arm (1923–1993) in Geneva during World War II, and in 1946 she moved into his Paris studio. The couple married three years later, and until Giacometti’s death in 1966, she posed for him daily. Black Annette dates from a period when Giacometti had largely reduced his chromatic range to shades of gray, producing a series of enigmatic paintings that contrast significantly with the vibrant colors of his early postwar work. Here Annette’s outline is drawn in black, then colored in with gray, and finally reworked with white touches. Giacometti’s portraits, either painted or sculpted, are the translation of the sitter as an implacable otherness that can never be grasped in its entirety. Expressionless portraits, such as this strictly frontal work with wide eyes gazing straight ahead, are the receptacle of the spectator’s scrutiny. Giacometti declared: “I cannot simultaneously see the eyes, the hands, and the feet of a person standing two or three yards in front of me, but the only part that I do look at entails a sensation of the existence of everything.”

301

From left to right:

Head, figures, and architecture

Ca. late 1950s–early 1960sBlue ink on paperFondation Giacometti, Paris

Figurine on base and men walking on base and project for a monument

Ca. late 1950s–early 1960sGraphite on greeting cardFondation Giacometti, Paris

Studies for the Chase Manhattan Bank project, Lower Manhattan

After 1957Ballpoint pen on paperFondation Giacometti, Paris

Untitled

Before 1959Ballpoint pen on paperFondation Giacometti, Paris

Monumental Head(Grande tête)

1960 (cast by 1961)BronzeHirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.,Gift of Joseph H. Hirshhorn, 1966

Tall Woman IV(Grande femme IV)

1960–61 (cast 1981)BronzeFondation Giacometti, Paris

Walking Man I(Homme qui marche I)

1960 (cast 1982)BronzeFondation Giacometti, Paris

302

Diego Standing in the Living-Room in Stampa(Diego debout dans le salon à Stampa)

November 11, 1922Oil on canvasFondation Giacometti, Paris

Born into a family of artists, Giacometti’s father, Giovanni (1868–1933), was a Post-Impressionist painter of some renown. It is perhaps his influence that is expressed in this early painting with vibrant colors and a descriptive setting. The work depicts Giacometti’s younger brother and lifelong studio assistant Diego (1902–1985), who stands with legs astride and fists loosely clenched in a display of quiet confidence at odds within the shallow space he inhabits. The Giacometti family moved to Stampa, Switzerland, when Giacometti was three years old, and most of them remained there until Giovanni’s death. Giacometti, however, moved to Paris in 1922 and joined the Parisian avant-garde. He would spend much of his artistic career striving to capture “the true dignity of the object” and executing numerous portraits of Diego across various media.

Spoon Woman(Femme cuillère)

1927PlasterFondation Giacometti, Paris

Spoon Woman(Femme cuillère)

1926–27 (cast 1954)BronzeSolomon R. Guggenheim Museum, New York 55.1414

The abundance of modernist innovation in Paris during the 1920s deeply influenced Giacometti’s work. For example, the reductive figure and sweeping lines of Spoon Woman particularly evoke the sculpture of Constantin Brancusi (1876–1957). Giacometti also translated his forms through the lens of African and Oceanic art, and the gentle slope of Spoon Woman was likely inspired by the ceremonial ladles, known as wakemia, that were carved by artists in the Dan communities of West Africa. This concave form, identified with the female, is repeated in Giacometti’s flat Women sculptures of 1928–29.

Spoon Woman exists in various media, including this early plaster and the later bronze cast from an alternate plaster. Giacometti considered his plaster iterations to be independent works, despite the fact that many were used as molds for bronze casting.

304 +Kids

The Mountain(La montagne)

1930Oil on canvasFondation Giacometti, Paris

Prior to 1935 Giacometti primarily focused on sculpting in his Paris studio and painted only during his frequent visits to Switzerland. These paintings bear little trace of his current associations with Surrealism—whose practitioners explored the unconscious mind—and instead recall his earlier Post-Impressionist technique, a method characterized by distinct, fluid strokes and a tendency toward primary colors, which Giacometti would abandon by the mid-1930s. Composed of a delicate swarm of hatched brushwork, The Mountain captures the alpine vistas of Giacometti’s youth. The three-dimensional facets comprising the central motif, as well as the composition’s narrow horizon, evoke the Impressionist artist Paul Cézanne’s (1839–1906) mountain landscapes of southern France, in both a visual and a thematic homage.

After three Oceanic sculptures in Cahiers d’art, nos. 2–3, 1929, pp. 59, 104, and 106

Ca. 1929Ink on paperFondation Giacometti, Paris

After a Coptic painting and a mask of New Guinea

After 1950Ink on paperFondation Giacometti, Paris

In Paris Giacometti often went to the Musée d’Ethnographie du Trocadéro and was a devoted reader of avant-garde magazines, such as Cahiers d’art and Documents, which disseminated non-Western art. Archaic Greek sculpture from the Cyclades islands found in the Musée du Louvre prompted Giacometti to explore sculpture’s relationship to the horizontal plane. In 1927 he synthesized these influences in Spoon Woman, on display nearby. Giacometti’s deep interest in African, Cycladic, and Oceanic art would persist throughout his career.

Sculpture


Reclining Woman Who Dreams(Femme couchée qui rêve)


Man (Apollo)(Homme [Apollon])


Suspended Ball(Boule suspendue)

1930–31Plaster, painted metal, and stringFondation Giacometti, Paris

Giacometti’s lifelong practice cannot be neatly divided into distinct periods or artistic movements, with the exception of his foray into Surrealism between 1930 and 1935. Suspended Ball was on view in Paris at the Galerie Pierre in 1930 when André Breton (1896–1966), the French writer, poet, and founder of the Surrealists, encountered the work and became fascinated with the provocative interplay between the ball and crescent, precipitating an invitation for Giacometti to join the group. This sculpture evokes the Surrealist fascination with desire and locates that desire within the dream-like space of the caged enclosure—a persistent device in Giacometti’s work. The potential swing of the pendulous ball incites anticipation; however, by design, the two forms will never touch, remaining unsatisfied in perpetuity.

Taut String (Flower in Danger)(Fil tendu [Fleur en danger])

1932Plaster and metal with traces of graphite; partially restored with the collaboraion of the Alberto Giacometti-Stiftung, ZurichFondation Giacometti, Paris

Surrealist Composition(Composition surréaliste)


307

Surrealist Composition(Composition surréaliste)


307

Disagreeable Object(Object désagréable)

1931WoodPrivate collection

306

Copy after children drawings made in chalk on Boulevard Villemain sidewalk

1932Ink on paperFondation Giacometti, Paris

Composition

1933–34Ink on paperFondation Giacometti, Paris

Two heads of Father and a number of geometric sculptures


Sculpture studies


Point to the Eye(Pointe à l’oeil)

1931Plaster; partially restored with the collaboration of the Alberto Giacometti-Stiftung, Zurich Fondation Giacometti, Paris

No More Play(On ne joue plus)

1931–32Marble, wood, and bronzeNational Gallery of Art, Washington, D.C., Gift of The Patsy R. and Raymond D. Nasher Collection, Dallas, Texas, in Honor of the 50th Anniversary of the National Gallery of Art

This work is one of several created to resemble board games, and the title alludes to the cessation of both childish play and the larger game of life. The white marble deck is dotted with circular indentations of various sizes that resemble lunar or bomb craters, some of which are peopled with delicately carved wooden game pieces that stand erect like small monuments. A smooth central panel, containing incised rectangular graves, divides the board. With no discernible rules, the game is ambiguous and toys with the Surrealist notion of the uncanny as Giacometti weaves the macabre with an object of nostalgia.

Woman with Her Throat Cut(Femme égorgée)

1932 (cast 1949)BronzeThe Museum of Modern Art, New York

308

The Palace at 4 a.m.(Le palais à 4 heures du matin)

1932Oil on cardboardFondation Giacometti, Paris

Walking Woman (I)(Femme qui marche [I])


Cube(Le cube)

1934 (cast 1959)BronzeAlberto Giacometti-Stiftung, Zurich

309

Surrealist Head(Tête surréaliste)

1934Plaster with graphiteFondation Giacometti, Paris

Head-Skull(Tête-crâne)


Head-Skull(Tête-crâne)


Surrealist Head(Tête surréaliste)

1934Plaster with graphiteFondation Giacometti, Paris

After an Egyptian sculpture: Sésostris III; After Paul Cézanne: self-portrait

1937Graphite on paperFondation Giacometti, Paris

Hands Holding the Void (Invisible Object)(Mains tenant le vide [Objet invisible])

1934 (cast ca. 1954–55)BronzeThe Museum of Modern Art, New York,Louise Reinhardt Smith Bequest

This sculpture is an icon of Giacometti’s Surrealist phase, and the last work he composed while associated with the group. According to André Breton (1896–1966) the figure’s avian features were purportedly a product of a chance encounter with a sharply angled mask at a flea market, while the upright stance and asymmetrical positioning of the arms evoke Meso-american statuary, perhaps in reference to the deity Coatlicue. At first the rectangular base appears to stabilize the woman’s form, providing a base for her legs, but a glimpse of her toes emerging from beneath the block reveals the pedestal to be a method of incarceration, pinning her to the armature behind. A large-scale depiction of a full human figure, the woman’s hands, bent as if in supplication, seem to cradle an object—one that, as the title suggests, is invisible.

Bust of a Man in a Frame(Buste d’homme dans un cadre)

1947Oil on paperFondation Giacometti, Paris

Three Standing Figures in Superposition with a Bust(Trois personnages debout en superposition d’un buste)

1947Oil on paperFondation Giacometti, Paris

Bust of a Man in Profile(Buste d’homme de profil)

1946–47Oil on canvasFondation Giacometti, Paris

Head of the Mother(Tête de la mère)


Very Small Figurine(Toute petite figurine)

1937–39Plaster with traces of color

Silvio Standing, Hands in Pockets(Silvio debout, les mains dans les poches)

1943Plaster

310 +Kids

Small Bust of Silvio on a Double Base (Petit buste de Silvio sur double socle)

Ca. 1943–44 (cast 1978)Bronze

Small Man on a Base(Petit homme sur socle)


Small Bust on a Double Base(Petit buste sur double socle)


Very Small Bust of a Man(Très petit buste d’homme)

1939–40Plastiline


Woman with Chariot(Femme au chariot)

Ca. 1945Plaster and woodFondation Giacometti, Paris

Giacometti spent the majority of World War II in his native Switzerland, where he transformed a Geneva hotel room into a studio and made tiny sculptures of female figures standing on massive bases. Other small figures represent his young nephew Silvio. Woman with Chariot is the sole large-scale work that Giacometti sculpted during this time, and he made it in the studio at his family’s home in the Swiss mountains around the same time he painted his first nude. The potential for movement in this sculpture contrasts with Giacometti’s numerous contemporary studies of encaged and immobile women. Based on the recollection of a mobile “sparkling pharmacy cart” from a hospital stay a decade earlier, this work is one of several to explore the motif of a female figure ensconced in a wheeled chariot.

Seated Woman(Femme assise)

1950 (cast 1956)BronzeHirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.,Gift of Joseph H. Hirshhorn, 1966

The Artist’s Mother Seated in an Interior(La mère assise dans un intérieur)


Man Pointing(Homme qui pointe)

1947 (cast by 1949)BronzeTate

Man Pointing is among Giacometti’s most iconic forms. Frequently reworking objects over the span of his career, Giacometti completed the model for this bronze cast with remarkable speed. He recalled: “I did that piece in one night between midnight and nine the next morning. That is, I’d already done it, but I demolished it and did it all over again.” After producing smaller figural sculptures in the years leading up to and during World War II, this life-size work is an exploration of space on a radical new scale. The right arm points outward, while the left arm extends as if draped around the shoulders of a friend. In fact, Giacometti sculpted a second figure that he later destroyed. The meaning of Man Pointing is drastically altered when it is considered one of a pair: the lonely expression of postwar anxiety and isolation embodied in the single figure is bridged by the connection to his companion.

City Square(La place)

1951 (lifetime cast)BronzePrivate collection

Giacometti began placing individual figures on large bases as early as 1942, and in 1948 a group of attenuated figures appeared on a thin square base that also suggests a city square. Here, the bronze slab support provides a crucial function: it frames the sculptural space and gives a distinct environment for the figures to inhabit. The ebb and flow of urban crowds fascinated Giacometti. While ostensibly part of a group, the male figures seem isolated, existing independently of one another as they march inexorably forward. This same determination, however, imparts a perception of the infinite, imbuing these figures with a sense of endlessness, and, in turn, suggesting immortality. The hieratic female figure stands immobile, presiding over the space with the goddess-like quality common to Giacometti’s later Standing Women.





1948BronzePrivate collection



1951BronzePrivate collection


Three Men Walking (Small Square)(Trois hommes qui marchent [Petit plateau])


Four Women on a Base(Quatre femmes sur socle)


Figurine between Two Houses(Figurine entre deux maisons)


312 +Kids

Walking Quickly under the Rain(Moi me hâtant dans une rue sous la pluie)

Ca. 1948 (cast 1949)BronzeThe Museum of Modern Art, New York,Nina and Gordon Bunshaft Bequest, 1994

Jean-Paul Sartre Leaning on His Elbow(Jean-Paul Sartre s’appuyant sur son coude)

Ca. 1949Graphite on paperFondation Giacometti, Paris

After World War II Giacometti became close friends with the French writers Jean-Paul Sartre (1905–1980) and Simone de Beauvoir (1908–1987), and he was exposed to their philosophy of existentialism, which emphasizes an individual’s free will. In 1947 the artist asked Sartre to provide a text for the catalogue of his first retrospective exhibition, organized by art dealer Pierre Matisse in his New York gallery. The essay, “The Search for the Absolute,” proposed an existentialist interpretation of Giacometti’s sculpture and resulted in several portraits of Sartre around 1949. In 1954 Sartre wrote “The Paintings of Giacometti” to accom-pany the Giacometti exhibition at the Galerie Maeght, Paris, which represented the artist in Europe. In the essay he proclaims Giacometti one of the great painter-sculptors of the twentieth century.

Head on a Rod(Tête sur tige)

1947Painted plasterFondation Giacometti, Paris

313

Figurine

Ca. 1950Plaster




Before 1950Clay



Head of a Man on a Base(Tête d’homme sur socle)



The Nose(Le nez)

1949 (cast 1964)Bronze, wire, rope, and steelSolomon R. Guggenheim Museum, New York 66.1807

The Nose is a brutal expression of the trauma wrought by World War II and an expression of pervasive postwar anxiety and despair. Created when Giacometti returned to Paris in 1945, the metal cage is made from the same material and form of several prewar works, such as Suspended Ball (Boule suspendue, 1930–31; Ramp 2), yet the artist has moved beyond his previous Surrealist idiom and the smoother surfaces of those earlier sculptures. Here Giacometti grapples with both the aftermath of the war and his recurring nightmares from having witnessed the death of a traveling companion. In an article published in 1946 he described the man’s transformation in death: “His nose lengthens, his cheeks grow hollow.” The prominent nose violently transgresses the bounds of the cage, aggressively impinging upon the external space of the viewer. In tandem with the sloping neck, the barrel-shaped nose evokes the form of a handgun, while the screaming mouth and tortured expression condemn, rather than celebrate, violence.

The Cage(La cage)

1950 (cast ca. 1965–66)BronzeFondation Giacometti, Paris

Medium Figure III(Figure moyenne III)

1948–49PlasterFondation Giacometti, Paris

Tall Figure II(Grande figure II)


Two Standing Women and Figurine in a Cage(Deux femmes debout et figurine dans une cage)

Ca. 1950Oil on wood panelFondation Giacometti, Paris

The cage is a recurring motif throughout Giacometti’s practice. In works he made during his Surrealist phase in the early 1930s the cage, in part, separates the dreamlike space of the object from the viewer’s environment; after World War II, the cage encloses the standing female figures, and the rectangular structure organically merges with the forms it encases. In this work the cage motif is painted on wood panels that were once part of the walls of Giacometti’s Swiss studio in Stampa. Giacometti’s working spaces in France and Switzerland acquired almost mythic auras becoming extensions of the artist during his lifetime. The Paris studio has been described as a “cranium” and a “shell,” its walls covered in sketches and paintings.

314 +Kids

Standing Nude(Nu debout)

Ca. 1946–48Oil on canvasFondation Giacometti, Paris

Standing Woman in Superposition of a Bust(Femme debout en superposition d’un buste)


The Glade(La clairière)


The Forest(La forêt)


315

Three Figures and a Head (The Square)(Composition avec trois figures et une tête [La place])



The Chariot(Le chariot)

1950BronzeDenise and Andrew Saul

Giacometti continued his exploration of the female form upon a wheeled platform with this work. He deeply exaggerates proportions, as the enlarged wheels dwarf the whip-thin figure that stands in between. Inspired by the shape of an Eighteenth-Dynasty Egyptian battle chariot on display in the Museo Archeologico Nazionale in Florence where Giacometti had visited in the 1920s, The Chariot combines memory with a compositional desire to locate the figure off the floor, alone in space. The trapezoidal pedestals lend a precariousness to her perch, at once suggesting and hindering the idea of movement.

The Chariot(Le chariot)

1950 (lifetime cast)BronzeDenise and Andrew Saul

Giacometti continued his exploration of the female form upon a wheeled platform with this work. He deeply exaggerates proportions, as the enlarged wheels dwarf the whip-thin figure that stands in between. Inspired by the shape of an Eighteenth-Dynasty Egyptian battle chariot on display in the Museo Archeologico Nazionale in Florence where Giacometti had visited in the 1920s, The Chariot combines memory with a compositional desire to locate the figure off the floor, alone in space. The trapezoidal pedestals lend a precariousness to her perch, at once suggesting and hindering the idea of movement.

After Egyptian works

Ca. 1935–37Ink on paperFondation Giacometti, Paris

After Egyptian sculptures: heads of Amenhotep IV

Ca. 1920Graphite on paperFondation Giacometti, Paris

After the Egyptian sculptures: Tjenti and Ilmertef

1935–37Ink on paperFondation Giacometti, Paris

After Egyptian sculptures

After 1950Ballpoint pen on paper envelopeFondation Giacometti, Paris

Sketch on Histoire de la civilisation de l’Egypte ancienne 1 (1961)

Ca. 1961Ballpoint pen on paperFondation Giacometti, Paris

Sketch after Egyptian sculptures (Heads of Rahotep and Nefret) in Photographic Encyclopedia of Art (Museum of Cairo, 1949)

Ca. 1949Ballpoint pen on paperFondation Giacometti, Paris

Notebook

1923–26Graphite on paperFondation Giacometti, Paris

Notebook

1963Ballpoint pen on paperFondation Giacometti, Paris

316

Annette


Head of a Man, Face On(Tête d’homme de face)

1956Oil on cardboardFondation Giacometti, Paris





Six People at a Table(Six personnages à table)


Seated Man(Homme assis)

1949Oil on canvasTate

Annette Seated(Annette assise)


Bust of a Man with Sweater(Buste d’homme au chandail)

Ca. 1953PlasterFondation Giacometti, Paris

Diego with a Windbreaker(Diego au manteau)


Bust of Diego(Buste de Diego)

Ca. 1956PlasterFondation Giacometti, Paris

Bust of a Man (Diego)(Buste d’homme [Diego])


Bust of a Man(Buste d’homme)


317 +Kids

From left to right:

Bust of a Man (Diego)(Buste d’homme [Diego])




317 +Kids


Ca. 1956Plaster

Diego with a Windbreaker(Diego au manteau)

1954Painted plaster

Bust of a Man with Sweater(Buste d’homme au chandail)

Ca. 1953Plaster



Ca. 1951Oil on canvasFondation Giacometti, Paris



Diego

1953Oil on canvasSolomon R. Guggenheim Museum, New York 55.1431

318 +Kids

Tall Thin Head(Grande tête mince)


From left to right:

Nude after Nature (Annette)(Annette d’après nature)


Annette Standing(Annette debout)


Head with a Large Nose(Tête au grand nez)


Bust of a Man on a Rod(Buste d’homme sur tige)


Diego (Head with Turtleneck)(Diego [Tête au col roulé])


Head on a Base (Head without Skull)(Tête sur socle [Tête sans crâne])



From left to right:

Figurine on a Large Base(Figurine au grand socle)

1954Painted plaster

Standing Woman(Femme debout)






Standing Figure(Personnage debout)



Standing Nude on a Cubic Base(Nu debout sur socle cubique)


Woman Leoni(Femme Leoni)

1947–58PlasterFondation Giacometti, Paris

Woman Leoni is a testament to the persistence of the artist’s interest in Egyptian statuary. Often in Giacometti’s plaster pieces he heightened the face with touches of black paint, and this sculpture was subsequently coated with shellac, an ocher-colored unmolding agent used in bronze casting. Recent conservation of Woman Leoni has revealed these touches of paint, thus renewing our perception of the work.

319

Dark Head(Tête noire)


Annette Naked Standing and Standing Women in Perspective in Eight Examples(Annette nue debout et femmes debout en perspective en huit exemplaires)

1955Ink on paperFondation Giacometti, Paris

Bust of a Man (Théodore Fraenkel)(Buste d’homme [Théodore Fraenkel])


Sir Robert Sainsbury


Bust of a Man (Pierre Josse)(Buste d’homme [Pierre Josse])


Jean Genet

1954–55Oil on canvasTate

From left to right:

Woman of Venice II(Femme de Venise II)

1956 (cast 1956)Painted bronzeThe Metropolitan Museum of Art, New York, Jacques and Natasha Gelman Collection, 1998

Woman of Venice IV(Femme de Venise IV)

1956 (cast ca. 1957)BronzePrivate collection

Woman of Venice I(Femme de Venise I)

1956 (cast 1956)BronzeLouise and Leonard Riggio

320

Giacometti was invited to represent France in the Venice Biennale in 1956, and in preparation he created twelve upright plaster women, each over three feet tall. Nine of these works were cast in bronze, and seven were exhibited in Venice alongside works the artist created earlier in his career. Each figure’s elongated shape reflects the artist’s desire to represent the appearance of a form as seen from a distance; the weighted triangular foot grounds the otherwise soaring woman. These are universal, not specific, representations of the female form. Giacometti’s friend the French writer Jean Genet (1910–1986) described this universality of form as a “disturbing” alternation “from woman [to] goddess.”

Four Apples on a Plate(Quatre pommes sur une assiette)

Ca. 1953Oil on canvas

Four Apples on a Plate(Quatre pommes sur une assiette)


Four Apples on a Table(Quatre pommes sur une table)


Four Apples and a Glass(Quatre pommes et un verre)

1948–54Oil on canvas


“If I had any advice to give a young painter, I would say to begin by copying an apple,” Giacometti stated in 1962. As a nod to the French Impressionist Paul Cézanne (1839–1906), whose still lifes Giacometti greatly admired, the apple also provided a vessel through which he could examine spatial perception. Similar to his explorations of the figure, Giacometti’s apples consist of volumes structured by linear strokes with a technique that resembles drawing, as seen in these four intimate works. The silvery Four Apples on a Table (ca. 1949), inscribed to the artist’s wife Annette, rested near their bed. In addition, Giacometti painted apples on a wall of the bedroom as a wedding gift in 1949.

Landscape in Stampa(Paysage à Stampa)


Dark Landscape (Stampa)(Paysage noir [Stampa])


Landscape with Houses, Stampa(Paysage aux maisons, Stampa)


From left to right:

Study of head

1963Ballpoint pen on paper

Study of eye

Ca. 1960sBallpoint pen on paper

Study of eye

Ca. 1960sBallpoint pen on paper


These late drawings reveal Giacometti’s narrowed focus toward the end of his life, as he reduced the subjects of his compositions to their most essential element: the eye. In an interview just before his death in 1966, Giacometti described the importance of this feature: “When you look at a human face, you always look at the eyes. . . . The eye is something special.”

321

Bouquet of Flowers and Three Apples (Bouquet et trois pommes)


Bouquet of Flowers and an Apple (Bouquet et pomme)


The Leg(La jambe)


Giacometti considered the base of his sculptures to be an integral element. At the beginning of his Surrealist period, Giacometti made several variations on the shape and dimensions of these bases, playing with the relationship between the object and its support. In 1957 his research on scale and the human figure is summed up in The Leg, a monumental piece perched on a tall pedestal. Its size and fragmentary state recall ancient sculpture, an influence also found in the artist’s series of steles, in which tall, column-like bases are surmounted by busts of men.

322 +Kids

Stele III(Stèle III)


Stele II(Stèle II)


Large Head(Grande tête)


Tall Nude(Grand nu)

Ca. 1961 Oil on canvas Fondation Giacometti, Paris

Tall Woman I(Grande femme I)


323 +Kids

Rita


From left to right:

Bust of Annette VIII(Buste d’Annette VIII)

1962 (cast 1965) Bronze

Bust of Annette X(Buste d’Annette X)


Bust of Annette (known as Venice)(Buste d’Annette [dit Venise])


Bust of Annette IV(Buste d’Annette IV)


Bust of Annette IX(Buste d’Annette IX)




Tall Woman Seated(Grande femme assise)



Isaku Yanaihara Seated Full-Length(Isaku Yanaihara assis en pied)


During his trips to Paris between 1956 and 1961 the Japanese existentialist philosopher Isaku Yanaihara (1918–1989) posed for Giacometti over a total of 230 days for five to eight hours per sitting. These portraits shed light on a fraught moment in Giacometti’s career, sometimes deemed the “Yanaihara crisis,” when the artist was wracked with insecurity and doubt about his ability to accurately transcribe onto canvas the reality he saw before him. Giacometti’s attempt to capture Yanaihara in totality, focusing on his subject’s material, not emotional, presence, is apparent in the multiple views and canvas sizes on display.

324

Isaku Yanaihara in Profile(Isaku Yanaihara de profil)


Isaku Yanaihara


Bust of Isaku Yanaihara(Isaku Yanaihara en buste)

1959Oil on panelFondation Giacometti, Paris

Isaku Yanaihara

December 1956Oil on canvasFondation Giacometti, Paris

Bust of Isaku Yanaihara(Isaku Yanaihara en buste)


Bust of Isaku Yanaihara (I)(Buste d’Isaku Yanaihara [I])


Caroline in a Red Dress(Caroline avec une robe rouge)


A young woman who went by the name Caroline was Giacometti’s last mistress and a favorite model. From 1960 to 1965 she posed for the artist during the evenings, and the dim yellow background on this canvas perhaps alludes to the light from the bare electric bulb under which she sat in his small studio. Despite the intimacy of their relationship, Caroline is typically depicted from a restrained distance, as evidenced in the three-quarter-length view. The more intrusive close-ups were reserved for Giacometti’s wife, Annette, who was his frequent model during the day. The concentration of pigment around the subject’s face indicates the artist’s progressive over-painting in the quest to “reproduce [the subject] exactly as he saw it.”

325

Caroline Seated Full-Length(Caroline assise en pied)


Caroline


Caroline in Tears(Caroline en larmes)


From left to right:

Half-Length of a Man(Homme à mi-corps)


Bust of Man (Lotar II)(Buste d’homme [Lotar II])




Bust of Diego (Second Version)(Buste de Diego [Deuxième version])


Bust of a Man (known as New York II)(Buste d’homme [dit New York II])


Bust of a Man (known as New York I)(Buste d’homme [dit New York I])


Bust of a Man (known as Chiavenna II)(Buste d’homme [dit Chiavenna II])


Head of a Man (Lotar I)(Tête d’homme [Lotar I])


326


Dog(Le chien)

1951 (cast 1957)BronzeHirshhorn Museum and Sculpture Garden, Smithsonian Institution, Washington, D.C.,Gift of Joseph H. Hirshhorn, 1966

Dog is one of four animal sculptures Giacometti created, along with a cat and two horses (last two are no longer extant). Giacometti identified with Dog when he recounted to his friend the French writer Jean Genet (1910–1986): “One day, I saw myself in the street like that. I was the dog.” Giacometti later elaborated that he had been walking morosely in the rain, hanging his head. This posture is clearly expressed in the drooping form of the gaunt dog. As a self-portrait, Dog reflects an emotional state rather than conveying a particular physical resemblance. The sculpture’s grace becomes apparent despite evoking feelings of melancholy in what Genet termed “harmonious calligraphy.”

327 +Kids

Alberto Giacometti

196628 min., excerpt: 16 min., 5 sec.© Stiftung Ernst Scheidegger-Archiv, Zurich, and Künstler-Videodokumentation Peter Münger, Zurich; film edit courtesy Tate

By the 1960s Giacometti was quite well known, and his studio had become a frequent destination for artists, collectors, friends, intellectuals, journalists, and art dealers. The Swiss photographer and filmmaker Ernst Scheidegger (1923–2016) had befriended Giacometti in Switzerland during World War II, and the two remained close until Giacometti’s death in 1966. Scheidegger documented Giacometti’s studio, photographing the space as an extension of the artist himself. This film, created over the course of two years, from 1964 to 1966, captures the artist at work both sculpting and drawing their mutual friend, the French poet Jacques Dupin (1927–2012), who was the author of Giacometti’s first monograph. Throughout the film, Giacometti describes his interest in the human head; his words are translated into English for the purpose of narration.

Herbert Matter(b. 1907, Engelberg, Switzerland; d. 1984, Southampton, New York)

Photographs from left to right:

Standing Woman1960sVintage silver gelatin print

Cloaked Sculpture in Studio1960sVintage silver gelatin print

Four Large Standing Women (The New York Women)1960sVintage silver gelatin print

All works Solomon R. Guggenheim Museum Archives, New York, Gift of Buddy Taub Foundation, 2018

Ephemera from left to right:

Poster, exhibition checklist, and event preview card for Alberto Giacometti (Solomon R. Guggenheim Museum, New York, June 8–July 17, 1955), with graphic design by Herbert Matter

All works Solomon R. Guggenheim Museum Archives

Herbert Matter and the Guggenheim

The photographer and graphic designer Herbert Matter (1907–1984) first met Alberto Giacometti in 1960, when he began photographing the artist’s studio, highlighting individual works and the space itself with a visual language all his own. These rich, almost textural images bring out the tactile nature of Giacometti’s sculptures, emphasizing their materiality and the stark beauty of their forms. Giacometti was enamored of these photographs, writing to Matter on May 19, 1961:

“They are by far the most beautiful photographs that have been made of my things, and, most important, at the same time they have a reality in themselves; each one is a creation in itself, one more beautiful than the other. They contain all that I wish to accomplish, the totality of my work.”

At Giacometti’s urging Matter compiled the photographs into a book, a project that took him over twenty years until it was ultimately published posthumously in 1987.

Matter’s innovative, modernist graphic design was employed in the service of the Solomon R. Guggenheim Museum in the 1950s and 1960s. In 1955, when the Guggenheim organized the first-ever museum presentation of Giacometti’s work in its former temporary quarters on New York’s Fifth Avenue, Matter was commissioned to design the show’s promotional materials. He brought his clean style to the exhibition’s published checklist, event preview, and poster seen here.

Giacometti

6/8/2018 9/12/2018-

Ramp 1, Bay 14

Alberto Giacometti(1901-1966)

Black Annette, 1962

Annette noire, 1962

Oil on canvas

21 5/8 x 18 1/16 inches (55 x 45.8 cm)

Fondation Giacometti, Paris

X.2016.225

High Gallery


Walking Man I, 1960 (cast 1982)

Homme qui marche I, 1960 (cast 1982)

Bronze

71 1/16 x 10 5/8 x 38 3/16 inches (180.5 x 27 x 97 cm)


X.2016.177


Monumental Head, 1960 (cast by 1961)

Grande tête, 1960 (cast by 1961)

Bronze

37 x 11 3/4 x 14 3/8 inches (94 x 29.8 x 36.5 cm)

Hirshhorn Museum and Sculpture Garden, Smithsonian Institution,

Washington, D.C., Gift of Joseph H. Hirshhorn 1966

X.2018.304


Tall Woman IV, 1960–61 (cast 1981)

Grande femme IV, 1960–61 (cast 1981)

Bronze

106 5/16 x 12 3/8 x 22 1/4 inches (270 x 31.5 x 56.5 cm)


X.2016.176


Untitled (Study for the Chase Manhattan Bank project, New York), after

1957

Études pour le projet de la Chase Manhattan bank à New York City,

after 1957

5 13/16 x 7 7/8 x 2 3/8 inches (14.7 x 20 x 6 cm) (height with lectern)


X.2017.1820

6/5/2018 1

Giacometti

6/8/2018 9/12/2018-

High Gallery


Untitled, Before 1959

Sans titre, Before 1959

Blue ballpoint pen

sheet: 10 9/16 x 8 1/4 inches (26.9 x 20.9 cm)


X.2017.1819


Untitled (Head, figures and architecture), n.d.

Tête, personnages et architecture, n.d.

Blue ink

sheet: 8 3/16 x 5 7/8 inches (20.8 x 15 cm)


X.2017.1821


Untitled (Figurine on base and men walking on base and project for a

monument), n.d.

Figurine sur socle et hommes qui marche sur socle et projet pour un

monument, n.d.

Pencil on greeting card



X.2017.1822

Ramp 1, Bay 11


Stele, 1925–27

Stèle, 1925–27

Painted plaster

9 5/8 x 7 5/8 x 3 1/8 inches (24.4 x 19.4 x 8 cm)


X.2016.68


Head of a Woman (Flora Mayo), 1926

Tête de femme [Flora Mayo], 1926

Painted plaster

12 5/16 x 9 1/8 x 3 5/16 inches (31.2 x 23.2 x 8.4 cm)


X.2016.69

6/5/2018 2

Giacometti

6/8/2018 9/12/2018-

Ramp 1, Bay 11


Head of Father (Mask), 1927–29

Tête du père (masque), 1927–29

Plaster

5 7/8 x 4 1/8 x 1 7/16 inches (15 x 10.5 x 3.7 cm)


X.2016.81


Head of Father, Round II, 1927–30

Tête du père, ronde II, 1927–30

Plaster with graphite

11 3/8 x 8 3/8 x 9 1/16 inches (28.9 x 21.2 x 23 cm)


X.2016.78


Head of Father, Flat I, 1927–30

Tête du père [plate I], 1927–30

Plaster

11 3/16 x 8 11/16 x 5 3/4 inches (28.4 x 22 x 14.6 cm)


X.2016.79


Crouching Figure, ca. 1926

Personnage accroupi, ca. 1926

Plaster

11 7/16 x 7 1/16 x 3 15/16 inches (29 x 18 x 10 cm)


X.2016.70


Diego Standing in the Living-Room in Stampa, November 11, 1922

Diego debout dans le salon à Stampa, November 11, 1922

Oil on canvas

25 1/16 x 19 3/4 inches (63.6 x 50.2 cm)


X.2016.183

Ramp 2, Bay 28

6/5/2018 3

Giacometti

6/8/2018 9/12/2018-

Ramp 2, Bay 28


Spoon Woman, 1926-27 (cast 1954)

Femme cuillère, 1926-27 (cast 1954)

Bronze

edition 3/6

56 5/8 x 20 1/4 x 8 1/2 inches (143.8 x 51.4 x 21.6 cm)

Solomon R. Guggenheim Museum, New York

55.1414


Spoon Woman, 1927

Femme cuillère, 1927

Plaster

57 11/16 x 20 5/16 x 8 7/16 inches (146.5 x 51.6 x 21.5 cm)


X.2016.77

Ramp 2, Bay 27


Woman (Flat III), 1928–29

Femme [plate III], 1928–29

Plaster

14 7/16 x 6 15/16 x 3 7/16 inches (36.6 x 17.7 x 8.8 cm)


X.2016.83


Woman Flat II, 1928–29 (cast 1970)

Femme [plate II], 1928–29 (cast 1970)

Bronze

15 1/2 x 6 5/8 x 3 1/16 inches (39.4 x 16.9 x 7.8 cm)


X.2016.86


Gazing Head, 1929

Tête qui regarde, 1929

Plaster with traces of pencil

15 3/4 x 14 5/16 x 2 9/16 inches (40 x 36.4 x 6.5 cm)


X.2016.82

6/5/2018 4

Giacometti

6/8/2018 9/12/2018-

Ramp 2, Bay 27


Woman (Flat V), ca. 1929

Femme [plate V], ca. 1929

Plaster

21 15/16 x 13 1/8 x 3 1/4 inches (55.8 x 33.4 x 8.2 cm)


X.2016.84

Ramp 2, Bay 26


The Mountain, 1930

La montagne, 1930

Oil on canvas

23 11/16 x 19 13/16 inches (60.1 x 50.4 cm)


X.2016.184


Untitled (After a Coptic painting and a mask of New Guinea), after 1950

D'après une peinture copte et d'après un masque de la Nouvelle

Guinée, after 1950

Ink on paper



X.2017.1757


Untitled (After three Oceanic sculptures in the revue Cahiers d'Art, no.

2-3, 1929, pp. 59, 104, and 106), ca. 1929

D'après trois sculptures océaniques dans la revue Cahiers d'Art, no.

2-3, 1929, p. 59, 104 et 106, ca. 1929

Ink on paper

sheet: 10 5/8 x 8 1/4 inches (27 x 21 cm)


X.2017.1645


Untitled (After three funerary figures of the Nouvelles Hebrides), ca.

1936

D'après trois figures funéraires des Nouvelles Hébrides, ca. 1936

Ink on paper



X.2017.1646

6/5/2018 5

Giacometti

6/8/2018 9/12/2018-

Aye Simon Reading Room

Publisher Solomon R. Guggenheim Museum-

Alberto Giacometti. Exhibition announcement., 1955

11 x 9 inches (27.9 x 22.9 cm)

Solomon R. Guggenheim Museum Archives, New York

A2017.13

Publisher Solomon R. Guggenheim Museum-

Alberto Giacometti. Invitation to exhibition., 1955

5 1/8 x 6 7/8 inches (13 x 17.5 cm)


A2017.14

Herbert Matter(1907-1984)

Alberto Giacometti, Published Exhibition Checklist, 1955


A2018.4


Standing Woman, 1960s

Vintage silver gelatin print

sheet: 14 x 11 inches (35.6 x 27.9 cm)

Solomon R. Guggenheim Museum Archives, New York, Gift of Buddy

Taub Foundation, 2018

A2018.1


Cloaked Sculpture in Studio, 1960s





A2018.2

6/5/2018 6

Giacometti

6/8/2018 9/12/2018-

Aye Simon Reading Room


Four Large Standing Women (The New York Women), 1960s





A2018.3

Ramp 2, Bay 25


Composition (Cubist I) (Couple), 1926–27

(Composition [Cubiste I] [Le couple]), 1926–27

Original plaster reworked with penknife

26 7/8 x 17 11/16 x 15 3/16 inches (68.2 x 45 x 38.6 cm)


X.2016.72


The Couple, 1927

Le couple, 1927

Plaster

23 3/4 x 14 13/16 x 7 1/16 inches (60.4 x 37.7 x 18 cm)


X.2016.10508


Composition, 1927–28

Composition, 1927–28

Plaster

12 15/16 x 6 5/16 x 5 9/16 inches (32.8 x 16 x 14.1 cm)


X.2016.76


Cubist Figure I, ca. 1926

Figure dite cubiste I, ca. 1926

Plaster

25 x 11 x 10 1/16 inches (63.5 x 27.9 x 25.5 cm)


X.2016.71

6/5/2018 7

Giacometti

6/8/2018 9/12/2018-

Ramp 2, Bay 25


Cubist Composition II, ca. 1927

Composition dite cubiste II, ca. 1927

Plaster

15 1/2 x 11 5/16 x 9 7/8 inches (39.3 x 28.7 x 25.1 cm)


X.2016.73

Ramp 2, Bay 24


Sculpture, 1927

Sculpture, 1927

Oil on canvas

13 13/16 x 10 13/16 inches (35.1 x 27.5 cm)


X.2016.185


Man (Apollo), 1929 (cast 1954)

(Homme [Apollon]), 1929 (cast 1954)

Bronze

15 1/2 x 12 3/16 x 3 1/4 inches (39.4 x 30.9 x 8.2 cm)


X.2016.88


Reclining Woman Who Dreams, 1929 (cast 1959)

Femme couchée qui rêve, 1929 (cast 1959)

Bronze

9 5/16 x 16 3/4 x 5 3/8 inches (23.7 x 42.6 x 13.6 cm)


X.2016.87

Ramp 2, Bay 23


Suspended Ball, 1930–31

Boule suspendue, 1930–31

Plaster, painted metal, and string

23 7/8 x 14 x 14 3/16 inches (60.6 x 35.6 x 36.1 cm)


X.2016.92

Ramp 2, Bay 22

6/5/2018 8

Giacometti

6/8/2018 9/12/2018-

Ramp 2, Bay 22


Disagreeable Object, 1931 (cast 1961)

Objet désagréable, 1931 (cast 1961)

Bronze

5 15/16 x 18 7/8 x 4 5/8 inches (15.1 x 47.9 x 11.8 cm)


X.2016.89


Disagreeable Object to Be Thrown Away, 1931 (cast 1979)

Objet désagréable à jeter, 1931 (cast 1979)

Bronze

9 x 13 1/2 x 10 3/16 inches (22.8 x 34.3 x 25.9 cm)


X.2016.90


Pocket Tray, ca. 1930–31

Vide-poche, ca. 1930–31

Painted plaster

6 13/16 x 8 11/16 x 11 1/2 inches (17.3 x 22 x 29.2 cm)


X.2016.91


Untitled, ca. 1931–32

Marble

14 7/16 x 11 1/8 x 4 15/16 inches (36.7 x 28.2 x 12.5 cm)


X.2016.85

Ramp 2, Bay 21


Disagreeable Object, 1931

Objet désagréable, 1931

Wood

6 1/8 x 19 5/16 x 4 5/16 inches (15.6 x 49.1 x 11 cm)

Private collection

X.2017.1421

6/5/2018 9

Giacometti

6/8/2018 9/12/2018-

Ramp 2, Bay 21


Flower in Danger, 1932

Fil tendu (Fleur en danger), 1932

Plaster and metal with traces of pencil

20 9/16 x 30 11/16 x 7 5/16 inches (52.2 x 78 x 18.5 cm)


X.2016.94


Surrealist Composition, ca. 1933

Composition surréaliste, ca. 1933

Ink on paper

7 1/2 x 5 11/16 inches (19 x 14.4 cm)


X.2017.1644

Ramp 3, Bay 39


Untitled (Copy after children's drawings), 1932

Copie d'après des dessins d'enfants, 1932

Ink on paper



X.2017.1816


Untitled (Composition), 1933-34

Composition, 1933-34

Ink on paper



X.2017.1756


Untitled (Two heads of father and a number of geometric sculptures),

ca. 1930

Deux têtes du père et nombreuses sculptures géométriques, ca. 1930

Ink on paper



X.2017.1647

6/5/2018 10

Giacometti

6/8/2018 9/12/2018-

Ramp 3, Bay 39


Untitled (Sculpture studies), ca. 1930

Esquisse de sculptures, ca. 1930

Ink on paper

sheet: 7 1/2 x 10 7/8 inches (19 x 27.7 cm)


X.2017.1667

Ramp 3, Bay 38


Point to the Eye, 1931

Pointe à l'oeil, 1931

Plaster

Partially restored

5 5/16 x 23 7/16 x 12 3/16 inches (13.5 x 59.5 x 31 cm)


X.2016.93


No More Play, 1931–32

On ne joue plus, 1931–32

Marble, wood, and bronze

1 5/8 x 22 13/16 x 17 13/16 inches (4.1 x 58 x 45.2 cm)

National Gallery of Art, Washington, D.C., Gift of The Patsy R. and

Raymond D. Nasher Collection, Dallas, Texas, in Honor of the 50th

Anniversary of the National Gallery of Art

X.2016.10675

Ramp 3, Bay 37


The Palace at 4 a.m., 1932

Le palais à 4 heures du matin, 1932

Oil on cardboard

19 7/16 x 21 11/16 inches (49.3 x 55.1 cm)


X.2016.186


Woman with Her Throat Cut, 1932 (cast 1949)

Femme égorgée, 1932 (cast 1949)

Bronze

8 11/16 x 29 1/2 x 22 13/16 inches (22 x 75 x 58 cm)

The Museum of Modern Art, New York

X.2016.95

6/5/2018 11

Giacometti

6/8/2018 9/12/2018-

Ramp 3, Bay 37


Walking Woman (I), 1932 (cast 1972)

Femme qui marche [I], 1932 (cast 1972)

Bronze

59 1/16 x 10 7/8 x 15 1/8 inches (150 x 27.7 x 38.4 cm)


X.2016.99

Ramp 3, Bay 36


Surrealist Head, 1934

Tête surréaliste, 1934

Plaster and pencil

6 3/4 x 9 1/8 x 9 1/16 inches (17.2 x 23.1 x 23 cm)


X.2016.96


Head-Skull, 1934

Tête-crâne, 1934

Plaster

7 1/4 x 7 13/16 x 8 3/4 inches (18.4 x 19.9 x 22.3 cm)


X.2016.97


Cube, 1934 (cast 1959)

Le cube, 1934 (cast 1959)

Bronze

37 x 23 5/8 x 23 5/8 inches (94 x 60 x 60 cm)

Alberto Giacometti-Stiftung, Zurich

X.2016.10673

Ramp 3, Bay 35


Hands Holding the Void (Invisible Object), 1934 (cast ca. 1954– 55)

Mains tenant le vide [L'Objet invisible], 1934 (cast ca. 1954– 55)

Bronze

59 7/8 x 12 7/8 x 10 inches (152.1 x 32.7 x 25.4 cm)

The Museum of Modern Art, New York, Louise Reinhardt Smith Bequest

X.2017.1761

Ramp 3, Bay 34

6/5/2018 12

Giacometti

6/8/2018 9/12/2018-

Ramp 3, Bay 34


Head of a Woman (Rita), 1936

Tête de femme [Rita], 1936

Plaster

2 13/16 x 2 5/16 x 3 1/4 inches (7.2 x 5.9 x 8.3 cm)


X.2016.102


Head of a Woman (Rita), 1936

Tête de femme [Rita], 1936

Plaster

4 1/4 x 2 7/16 x 3 5/16 inches (10.8 x 6.2 x 8.4 cm)


X.2016.103


Head of Isabel, 1936

Tête d'Isabel (L’Egyptienne), 1936

Plaster

11 15/16 x 9 1/4 x 8 5/8 inches (30.3 x 23.5 x 21.9 cm)


X.2016.106


Head of Diego on a Double Base, ca 1936–37 (cast 1966)

Tête de Diego sur double socle, ca 1936–37 (cast 1966)

Plaster and bronze

8 x 3 1/8 x 3 3/4 inches (20.3 x 8 x 9.5 cm)


X.2016.104


Head of Diego, ca. 1934

Tête de Diego, ca. 1934

Plaster

12 3/16 x 7 3/16 x 9 7/16 inches (31 x 18.2 x 23.9 cm)


X.2016.105

6/5/2018 13

Giacometti

6/8/2018 9/12/2018-

Ramp 3, Bay 34


Head of a Woman (Rita), ca. 1935

Tête de femme [Rita], ca. 1935

Wood and pencil

6 15/16 x 2 3/4 x 3 3/8 inches (17.6 x 7 x 8.6 cm)


X.2016.101


Small Head of Diego, ca. 1936

Petit tête de Diego, ca. 1936

Plaster

3 x 2 1/16 x 2 9/16 inches (7.6 x 5.2 x 6.5 cm)


X.2016.120

Ramp 3, Bay 33


Very Small Figurine, 1937–39

Toute petite figurine, 1937–39

Plaster with traces of color

1 3/4 x 1 3/16 x 1 1/2 inches (4.5 x 3 x 3.8 cm)


X.2016.107


Very Small Bust of a Man, 1939–40

Très petit buste d'homme, 1939–40

Plastiline

1 9/16 x 1 3/8 x 13/16 inches (4 x 3.5 x 2 cm)


X.2016.108


Small Man on a Base, 1939–45 (cast 1973)

Petit homme sur socle, 1939–45 (cast 1973)

Bronze

3 1/8 x 2 11/16 x 2 1/4 inches (8 x 6.9 x 5.7 cm)


X.2016.110

6/5/2018 14

Giacometti

6/8/2018 9/12/2018-

Ramp 3, Bay 33


Small Bust on a Double Base, 1940–41 (cast 1970)

Petit buste sur double socle, 1940–41 (cast 1970)

Bronze

4 9/16 x 2 7/16 x 2 1/8 inches (11.6 x 6.2 x 5.4 cm)


X.2016.109


Silvio Standing, Hands in Pockets, 1943

Silvio debout, les mains dans les poches, 1943

Plaster

4 7/16 x 1 13/16 x 1 3/4 inches (11.2 x 4.6 x 4.4 cm)


X.2016.113


Bust of a Man in Profile, 1946–47

Buste d’homme de profil, 1946–47

Oil on canvas

10 5/8 x 6 1/4 inches (27 x 15.9 cm)


X.2016.190


Three Standing Figures in Superposition with a Bust, 1947

Trois personnages debout en superposition d'un buste, 1947

Oil on paper

11 3/8 x 8 13/16 inches (28.9 x 22.4 cm)


X.2016.191


Bust of a Man in a Frame, 1947

Buste d'homme dans un cadre, 1947

Oil on paper

11 1/16 x 8 13/16 inches (28.1 x 22.4 cm)


X.2016.193

6/5/2018 15

Giacometti

6/8/2018 9/12/2018-

Ramp 3, Bay 33


Head of Mother, 1948

Tête de la mère, 1948

OIl on canvas

14 3/16 x 9 13/16 inches (36 x 25 cm)


X.2016.207


Small Bust of Silvio on a Double Base, ca. 1943–44 (cast 1978)

Petit buste de Silvio sur double socle, ca. 1943–44 (cast 1978)

Bronze

7 3/16 x 5 x 4 1/2 inches (18.2 x 12.7 x 11.5 cm)


X.2016.111

Ramp 3, Bay 32


Woman with Chariot, ca. 1945

Femme au chariot, ca. 1945

Plaster and wood

64 3/8 x 14 15/16 x 14 3/16 inches (163.5 x 38 x 36 cm) (overall)


X.2016.127


Small Bust of Annette, ca. 1946

Petit buste d'Annette, ca. 1946

Painted plaster

7 1/2 x 6 1/4 x 3 3/4 inches (19 x 15.9 x 9.6 cm)


X.2016.115

Ramp 3, Bay 31


Simone de Beauvoir, 1946

Plaster

5 1/2 x 1 9/16 x 1 5/8 inches (13.9 x 4 x 4.1 cm)


X.2016.116

6/5/2018 16

Giacometti

6/8/2018 9/12/2018-

Ramp 3, Bay 31


Head of a Man on a Rod, 1946–48

Tête d'homme sur tige, 1946–48

Painted plaster

7 1/2 x 6 5/16 x 1 3/16 inches (19 x 16 x 3 cm)


X.2016.118


Head of a Man, 1948–50

Tête d'homme, 1948–50

Painted plaster

10 3/16 x 3 3/8 x 3 3/4 inches (25.8 x 8.5 x 9.5 cm)


X.2016.119


Head of a Man, ca. 1946

Tête d'homme, ca. 1946

Plaster

3 5/8 x 1 5/8 x 2 9/16 inches (9.2 x 4.2 x 6.5 cm)


X.2016.121


Head of Simone de Beauvoir, ca. 1946

Tête de Simone de Beauvoir, ca. 1946

Plaster

5 13/16 x 3 3/8 x 3 11/16 inches (14.8 x 8.5 x 9.4 cm)


X.2016.122


Head of Diego, ca. 1946

Tête de Diego, ca. 1946

Plaster

4 1/16 x 1 11/16 x 2 1/16 inches (10.3 x 4.3 x 5.2 cm)


X.2016.123

6/5/2018 17

Giacometti

6/8/2018 9/12/2018-

Ramp 3, Bay 31


Small Head of Marie-Laure de Noailles on a Base, ca. 1946 (cast 1973)

Petite tête de Marie-Laure de Noailles sur socle, ca. 1946 (cast 1973)

Bronze

4 3/4 x 2 3/16 x 2 3/16 inches (12 x 5.5 x 5.5 cm)


X.2016.112


Figurine, ca. 1947 (cast 1976)

Figurine, ca. 1947 (cast 1976)

Bronze

11 5/16 x 3 5/8 x 4 inches (28.8 x 9.2 x 10.2 cm)


X.2016.130

Ramp 4, Bay 49


Seated Woman, 1950 (cast 1956)

Femme assise, 1950 (cast 1956)

Bronze

30 1/8 X 5 5/8 X 7 3/4 inches (76.4 X 14.3 X 19.7 cm)


Washington, DC, Gift of Joseph H. Hirshhorn, 1966

X.2016.10674

Ramp 4, Bay 48


Man Pointing, 1947 (cast by 1949)

Homme qui pointe, 1947 (cast by 1949)

Bronze

70 1/16 x 37 3/8 x 20 1/2 inches (178 x 95 x 52 cm)

Tate

X.2016.136

Ramp 4, Bay 47


City Square, 1948

La place, 1948

Bronze

8 1/2 x 25 3/8 x 17 1/4 inches (21.6 x 64.5 x 43.8 cm)

Private collection

X.2016.10647

6/5/2018 18

Giacometti

6/8/2018 9/12/2018-

Ramp 4, Bay 47


Three Men Walking (Small Square), 1948 (cast 2007)

Trois hommes qui marchent [petit plateau], 1948 (cast 2007)

Bronze

28 3/8 x 12 7/8 x 13 7/16 inches (72 x 32.7 x 34.1 cm)


X.2016.137


Four Women on a Base, 1950 (cast 1950)

Quatre femmes sur socle, 1950 (cast 1950)

Bronze

29 1/16 x 16 1/4 x 7 3/8 inches (73.8 x 41.2 x 18.8 cm)


X.2016.143

Ramp 4, Bay 46


The Artist's Mother Seated in an Interior, 1949

La mère assise dans un intérieur, 1949

Oil on canvas

24 7/16 x 11 1/2 inches (62 x 29.2 cm)


X.2016.206


Figurine between Two Houses, 1950 (lifetime cast)

Figurine entre deux maisons, 1950 (lifetime cast)

Bronze

11 13/16 x 21 1/4 x 3 3/4 inches (30 x 54 x 9.5 cm)

Private collection

X.2016.138


Walking Quickly under the Rain, ca. 1948 (cast 1949)

Moi me hâtant dans une rue sous la pluie, ca. 1948 (cast 1949)

Bronze

17 13/16 x 30 x 6 inches (45.2 x 76.2 x 15.2 cm)

The Museum of Modern Art, New York, Nina and Gordon Bunshaft

Bequest, 1994

X.2016.10499

Ramp 4, Bay 45

6/5/2018 19

Giacometti

6/8/2018 9/12/2018-

Ramp 4, Bay 45


Head on a Rod, 1947

Tête sur tige, 1947

Painted plaster

21 1/4 x 7 1/2 x 5 7/8 inches (54 x 19 x 15 cm)


X.2016.128


Head of a Man on a Base, 1949–51

Tête d'homme sur socle, 1949–51

Painted plaster

8 3/4 x 2 15/16 x 3 3/4 inches (22.3 x 7.5 x 9.5 cm)


X.2016.117


Head of Diego, before 1950

Tête de Diego, before 1950

Clay

4 5/8 x 2 3/8 x 3 1/4 inches (11.8 x 6 x 8.3 cm)


X.2016.124


Jean-Paul Sartre Leaning on His Elbow, ca. 1949

Jean-Paul Sartre s'appuyant sur son coude, ca. 1949

Graphite on paper

11 9/16 x 8 7/8 inches (29.3 x 22.5 cm)


X.2017.534


Figurine, ca. 1950

Figurine, ca. 1950

Plaster

6 x 2 5/16 x 2 11/16 inches (15.3 x 5.8 x 6.8 cm)


X.2016.114

6/5/2018 20

Giacometti

6/8/2018 9/12/2018-

Ramp 4, Bay 45




Painted plaster

3 11/16 x 7/8 x 1 7/16 inches (9.3 x 2.2 x 3.7 cm)


X.2016.125




Painted plaster

4 5/16 x 1 15/16 x 3 1/4 inches (10.9 x 4.9 x 8.2 cm)


X.2016.126

Ramp 4, Bay 44


The Nose, 1949 (cast 1964)

Le nez, 1949 (cast 1964)

Bronze, wire, rope, and steel

edition 5/6

31 7/8 x 28 1/8 x 15 1/2 inches (81 x 71.4 x 39.4 cm)


66.1807


The Cage, 1950 (cast 1965-66)

La cage, 1950 (cast 1965-66)

Bronze

69 1/8 x 14 9/16 x 15 9/16 inches (175.6 x 37 x 39.6 cm)


X.2016.142

Ramp 4, Bay 43


Standing Woman in Superposition of a Bust, 1946–47

Femme debout en superposition d'un buste, 1946–47

Oil on canvas

6 7/16 x 3 11/16 inches (16.3 x 9.4 cm)


X.2016.189

6/5/2018 21

Giacometti

6/8/2018 9/12/2018-

Ramp 4, Bay 43


Medium Figure III, 1948–1949

Figure moyenne III, 1948–1949

Plaster

49 13/16 x 7 5/16 x 13 3/8 inches (126.5 x 18.5 x 34 cm)


X.2016.10511


Tall Figure II, 1949

Grande figure II, 1949

Plaster

68 1/8 x 6 1/2 x 13 9/16 inches (173 x 16.5 x 34.5 cm)


X.2016.10510


Standing Nude, ca. 1946–48

Nu debout, ca. 1946–48

Oil on canvas

6 11/16 x 2 5/8 inches (17 x 6.6 cm)


X.2016.188


Two Standing Women and Figurine in a Cage, ca. 1950

Deux femmes debout et figurine dans une cage, ca. 1950

Oil on wood panel

72 7/16 x 30 7/8 x 1 inches (184 x 78.4 x 2.5 cm)


X.2016.10520

Ramp 4, Bay 42


The Forest, 1950 (cast 1950)

La forêt, 1950 (cast 1950)

Bronze

22 7/16 x 24 x 19 1/2 inches (57 x 61 x 49.5 cm)


X.2016.140

6/5/2018 22

Giacometti

6/8/2018 9/12/2018-

Ramp 4, Bay 42


Three Figures and a Head (The Square), 1950 (cast 2007)

Composition avec trois figures et une tete (La place), 1950 (cast 2007)

Bronze

22 1/2 x 21 x 15 7/8 inches (57.2 x 53.3 x 40.3 cm)


X.2016.139


The Glade, 1950 (cast 2007)

La clairière, 1950 (cast 2007)

Bronze

23 1/8 x 25 3/8 x 20 1/2 inches (58.8 x 64.4 x 52 cm)


X.2016.141

Ramp 4, Bay 41


The Chariot, 1950

Le chariot, 1950

Bronze

65 3/4 x 27 3/16 x 27 3/16 inches (167 x 69 x 69 cm)

Denise and Andrew Saul

X.2016.144

Ramp 4, Bay 40


Notebook, 1923–26

Graphite on paper

sheet: 7 3/4 x 4 7/8 x 3/8 inches (19.7 x 12.4 x 1 cm)


X.2017.1651


Untitled (After the Egyptian Sculptures: Tjenti and Ilmertef), 1935–1937

D'après les sculptures égyptiennes: Tjenti et Ilmertef, 1935–1937

sheet: 10 5/8 x 8 1/4 inches (27 x 21 cm)


X.2017.1658

6/5/2018 23

Giacometti

6/8/2018 9/12/2018-

Ramp 4, Bay 40


Untitled (After an Egyptian sculpture: Sésostris III; After Cézanne:

self-portrait), 1937

D'après une sculpture égyptienne: Sésostris III; d'après Cézanne:

autoportrait, 1937

Graphite on paper



X.2017.1649


Notebook, 1963

Ballpoint pen on paper

sheet: 7 1/16 x 4 13/16 x 2 3/8 inches (18 x 12.3 x 6 cm) (height with

lectern)


X.2017.1650


Untitled (After Egyptian sculptures), after 1950

D'après des sculptures égyptiennes, after 1950

Ballpoint pen on paper envelope



X.2017.1758


Untitled (After Egyptian sculptures: Heads of Amenhotep IV), ca. 1920

D'après les sculptures égyptiennes: Têtes d'Aménhophis IV, ca. 1920

Graphite on paper



X.2017.1648


Untitled (After Egyptian works), ca. 1935–37

D'après des oeuvres égyptiennes, ca. 1935–37

Ink on paper


X.2017.1847

6/5/2018 24

Giacometti

6/8/2018 9/12/2018-

Ramp 4, Bay 40


Sketch after Egyptian sculptures (Heads of Rahotep and Nefret) in

“Photographic Encyclopedia of Art” (Museum of Cairo, 1949), ca. 1949


sheet: 12 5/8 x 19 11/16 x 1 3/16 inches (32 x 50 x 3 cm)


X.2017.1652


Sketch on 'Histoire de la civilisation de l'Egypte ancienne 1' (1961), ca.

1961

Blue pallpoint pen on paper

9 3/16 x 18 7/8 x 1 15/16 inches (23.3 x 48 x 5 cm)


X.2017.1653

Ramp 5, Bay 59


Six People at a Table, 1949

Six personnages à table, 1949

Oil on canvas

18 7/16 x 20 9/16 inches (46.9 x 52.3 cm)


X.2016.205


Annette Seated, 1951

Annette assise, 1951

Oil on canvas

23 x 15 1/4 inches (58.4 x 38.8 cm)


X.2016.202


Annette, 1952

Annette, 1952

Oil on canvas

18 9/16 x 13 5/16 inches (47.2 x 33.8 cm)


X.2016.203

6/5/2018 25

Giacometti

6/8/2018 9/12/2018-

Ramp 5, Bay 59


Head of a Man, Face On, 1956

Tête d'homme de face, 1956

Oil on cardboard

12 3/8 x 8 9/16 inches (31.4 x 21.7 cm)


X.2016.212


Head of a Man, Face On, 1956

Tête d'homme de face, 1956

Oil on canvas

12 5/8 x 8 3/8 inches (32 x 21.2 cm)


X.2016.214


Bust of a Man, ca. 1951

Buste d'homme, ca. 1951

Oil on canvas

17 x 11 5/8 inches (43.2 x 29.5 cm)


X.2016.209


Bust of a Man, ca. 1951

Buste d'homme, ca. 1951

Oil on canvas

13 7/16 x 11 13/16 inches (34.1 x 30 cm)


X.2016.211


Head of a Man, Face On, ca. 1956–57

Tête d'homme de face, ca. 1956–57

Oil on canvas

10 1/4 x 8 1/2 inches (26.1 x 21.6 cm)


X.2016.213

Ramp 5, Bay 58

6/5/2018 26

Giacometti

6/8/2018 9/12/2018-

Ramp 5, Bay 58


Diego with a Windbreaker, 1954

Diego au manteau, 1954

Painted plaster

15 3/8 x 13 7/16 x 9 9/16 inches (39.1 x 34.2 x 24.3 cm)


X.2016.148


Bust of a Man, 1956 (cast 2006)

Buste d’homme, 1956 (cast 2006)

Bronze

13 13/16 x 12 1/8 x 3 7/8 inches (35.1 x 30.8 x 9.9 cm)


X.2016.149


Bust of a Man (Diego), 1959 (cast 1969)

Buste d'homme (Diego), 1959 (cast 1969)

Bronze

15 11/16 x 13 3/16 x 5 11/16 inches (39.9 x 33.5 x 14.5 cm)


X.2016.154


Bust of a Man with Sweater, ca. 1953

Buste d'homme au chandail, ca. 1953

Plaster

21 7/16 x 10 7/8 x 8 1/4 inches (54.5 x 27.7 x 21 cm)


X.2016.146


Bust of Diego, ca. 1956

Buste de Diego, ca. 1956

Plaster

14 11/16 x 8 7/16 x 5 1/8 inches (37.3 x 21.5 x 13 cm)


X.2016.155

Ramp 5, Bay 57

6/5/2018 27

Giacometti

6/8/2018 9/12/2018-

Ramp 5, Bay 57


Seated Man, 1949

Homme assis, 1949

Oil on canvas

31 1/2 x 21 1/4 inches (80 x 54 cm)

Tate

X.2016.199


Diego, 1953

Oil on canvas

39 1/2 x 31 3/4 inches (100.5 x 80.5 cm)


55.1431


Tall Thin Head, 1954 (cast 1977)

Grande tête mince, 1954 (cast 1977)

Bronze

25 3/8 x 15 x 9 5/8 inches (64.5 x 38.1 x 24.4 cm)


X.2016.147

Ramp 5, Bay 56


Standing Woman, 1953–54 (cast 1969)

Personnage debout, 1953–54 (cast 1969)

Bronze

10 5/8 x 2 5/8 x 4 3/16 inches (27 x 6.7 x 10.6 cm)


X.2016.159


Figurine on a Large Base, 1954

Figurine au grand socle, 1954

Painted plaster

15 7/16 x 3 5/8 x 8 1/16 inches (39.2 x 9.2 x 20.5 cm)


X.2016.134

6/5/2018 28

Giacometti

6/8/2018 9/12/2018-

Ramp 5, Bay 56


Standing Woman, ca. 1951–52 (cast 1980)

Femme debout, ca. 1951–52 (cast 1980)

Bronze

19 7/16 x 3 3/4 x 6 5/8 inches (49.4 x 9.5 x 16.9 cm)


X.2016.131


Annette Standing, ca. 1954 (cast 1982)

Annette debout, ca. 1954 (cast 1982)

Bronze

18 11/16 x 4 1/8 x 7 11/16 inches (47.5 x 10.5 x 19.5 cm)


X.2016.161


Head on a Base (aka Head without Skull), ca. 1958 (cast 1965)

Tête sur socle [dite Tête sans crâne], ca. 1958 (cast 1965)

Bronze

17 1/16 x 3 1/4 x 4 1/8 inches (43.3 x 8.2 x 10.5 cm)


X.2016.150


Standing Woman, ca. 1961

Femme debout, ca. 1961

Painted plaster

18 1/8 x 3 x 4 7/16 inches (46 x 7.6 x 11.2 cm)


X.2016.135

Ramp 5, Bay 55


Standing Nude on a Cubic Base, 1953

Nu debout sur socle cubique, 1953

Painted plaster

17 1/8 x 4 5/8 x 4 5/8 inches (43.5 x 11.7 x 11.8 cm)


X.2016.145

6/5/2018 29

Giacometti

6/8/2018 9/12/2018-

Ramp 5, Bay 55


Nude after Nature (Annette), 1954 (cast 1981)

Annette d'après nature, 1954 (cast 1981)

Bronze

21 5/16 x 5 5/8 x 7 15/16 inches (54.1 x 14.3 x 20.1 cm)


X.2016.160


Jean Genet, 1954–55

Jean Genet, 1954–55

Oil on canvas

25 11/16 x 21 3/8 inches (65.3 x 54.3 cm)

Tate

X.2016.215


Head with a Large Nose, 1958 (cast 1966)

Tête au grand nez, 1958 (cast 1966)

Bronze

20 5/16 x 5 9/16 x 6 1/16 inches (51.6 x 14.1 x 15.4 cm)


X.2016.151


Standing Woman, ca. 1952 (cast 1969)

Femme debout, ca. 1952 (cast 1969)

Bronze

23 9/16 x 4 1/16 x 7 5/16 inches (59.9 x 10.3 x 18.6 cm)


X.2016.132


Bust of a Man on a Rod, ca. 1954 (cast 1969)

Buste d'homme sur tige, ca. 1954 (cast 1969)

Bronze

17 13/16 x 8 9/16 x 5 1/2 inches (45.2 x 21.7 x 14 cm)


X.2016.153

6/5/2018 30

Giacometti

6/8/2018 9/12/2018-

Ramp 5, Bay 55


Diego (Head with Turtleneck), ca. 1954 (cast 1980)

Diego [tête au col roulé], ca. 1954 (cast 1980)

Bronze

13 3/16 x 5 1/8 x 5 5/16 inches (33.5 x 13 x 13.5 cm)


X.2016.152

Ramp 5, Bay 54


Woman Leoni, 1947–58

Femme Leoni, 1947–58

Plaster

66 15/16 x 7 1/2 x 16 9/16 inches (170 x 19 x 42 cm) (overall)


X.2016.10513


Annette Naked Standing and Standing Women in Perspective in Eight

Examples, 1955

Annette nue debout et femmes debout en perspective en huit

exemplaires, 1955

Ink on paper

21 1/2 x 21 5/8 inches (54.6 x 54.9 cm)


X.2017.537


Dark Head, 1957

Tête noire, 1957

Oil on canvas

31 7/8 x 25 3/8 inches (81 x 64.5 cm)


X.2016.210

Ramp 5, Bay 53


Bust of a Man (Théodore Fraenkel), 1954

Buste d'homme (Théodore Fraenkel), 1954

Oil on canvas

18 1/8 x 14 15/16 inches (46 x 38 cm)


X.2016.208

6/5/2018 31

Giacometti

6/8/2018 9/12/2018-

Ramp 5, Bay 53


Sir Robert Sainsbury, 1958

Sir Robert Sainsbury, 1958

Oil on canvas

36 1/8 x 25 5/8 inches (91.7 x 65.1 cm)


X.2016.222


Bust of a Man (Pierre Josse), 1964

Buste d'homme (Pierre Josse), 1964

Oil on canvas

31 15/16 x 21 3/8 inches (81.2 x 54.3 cm)


X.2016.226


Rita, 1964–65

Rita, 1964–65

Oil on canvas

27 9/16 x 19 3/4 inches (70 x 50.2 cm)


X.2016.227

Ramp 5, Bay 52


Woman of Venice II, 1956

Femme de Venise II, 1956

Painted bronze

47 7/8 x 12 5/8 x 5 1/2 inches (121.6 x 32.1 x 14 cm)

The Metropolitan Museum of Art, New York, Jacques and Natasha

Gelman Collection, 1998

X.2016.10645


Woman of Venice IV, 1956

Femme de Venise IV, 1956

Bronze

45 11/16 x 6 1/8 x 13 3/16 inches (116 x 15.5 x 33.5 cm)

Private collection

X.2016.10773

6/5/2018 32

Giacometti

6/8/2018 9/12/2018-

Ramp 5, Bay 52


Woman of Venice I, 1956 (cast 1956)

Femme de Venise I, 1956 (cast 1956)

Bronze

41 1/4 x 6 1/4 x 13 1/4 inches (104.8 x 15.9 x 33.7 cm)

Louise and Leonard Riggio

X.2017.447

Ramp 5, Bay 51


Four Apples and a Glass, 1948–54

Quatre pommes et un verre, 1948–54

Oil on canvas

6 1/2 x 8 7/8 inches (16.5 x 22.6 cm)


X.2016.195


Dark Landscape (Stampa), 1952

Paysage noir [Stampa], 1952

Oil on canvas

19 11/16 x 20 7/8 inches (50 x 53 cm)


X.2016.204


Landscape with Houses in Stampa, 1959

Paysage aux maisons, Stampa, 1959

Oil on canvas

24 x 19 1/2 inches (61 x 49.5 cm)


X.2016.234


Bouquet of Flowers and an Apple, 1961

Bouquet et pomme, 1961

Oil on canvas

21 7/8 x 18 5/16 inches (55.5 x 46.5 cm)


X.2016.237

6/5/2018 33

Giacometti

6/8/2018 9/12/2018-

Ramp 5, Bay 51


Four Apples on a Table, ca. 1949

Quatre pommes sur une table, ca. 1949

Oil on canvas

7 5/8 x 9 9/16 inches (19.4 x 24.3 cm)


X.2016.196


Four Apples on a Plate, ca. 1950

Quatre pommes sur une assiette, ca. 1950

Oil on canvas

5 15/16 x 8 1/4 inches (15.1 x 21 cm)


X.2016.197


Four Apples on a Plate, ca. 1953

Quatre pommes sur une assiette, ca. 1953

Oil on canvas

5 1/2 x 7 7/8 inches (14 x 20 cm)


X.2016.198


Landscape in Stampa, ca. 1961

Paysage à Stampa, ca. 1961

Oil on canvas

27 1/16 x 23 5/8 inches (68.8 x 60 cm)


X.2016.235


Bouquet of Flowers and Three Apples, ca. 1961

Bouquet et trois pommes, ca. 1961

Oil on canvas

27 3/8 x 23 9/16 inches (69.6 x 59.9 cm)


X.2016.236

Ramp 5, Bay 50

6/5/2018 34

Giacometti

6/8/2018 9/12/2018-

Ramp 5, Bay 50


Study of head, 1963


sheet: 19 11/16 inches x 13 inches (50 x 33 cm)


X.2017.1654


Study of eye, ca. 1960s




X.2017.1655


Study of eye, ca. 1960s




X.2017.1656

Ramp 6, Bay 69


The Leg, 1958

La jambe, 1958

Plaster

87 13/16 x 11 15/16 x 18 1/8 inches (223 x 30.3 x 46.1 cm)


X.2016.158

Ramp 6, Bay 68


Stele II, 1958

Stèle II, 1958

Plaster

65 7/8 x 8 3/8 x 8 3/4 inches (167.3 x 21.3 x 22.3 cm)


X.2016.156

6/5/2018 35

Giacometti

6/8/2018 9/12/2018-

Ramp 6, Bay 68


Stele III, 1958

Stèle III, 1958

Plaster

65 7/8 x 11 7/8 x 7 13/16 inches (167.3 x 30.2 x 19.8 cm)


X.2016.157


Monumental Head, 1960

Grande tête, 1960

Plaster

39 9/16 x 12 1/2 x 16 15/16 inches (100.5 x 31.7 x 43.1 cm)


X.2016.172

Ramp 6, Bay 67


Tall Woman I, 1960 (cast 1981)

Grande femme I, 1960 (cast 1981)

Bronze

107 1/16 x 13 3/4 x 21 1/4 inches (272 x 34.9 x 54 cm)


X.2016.173


Tall Nude, ca. 1961

Grand nu, ca. 1961

Oil on canvas

66 15/16 x 47 7/16 inches (170 x 120.5 cm)


X.2016.233

Ramp 6, Bay 66


Tall Woman Seated, 1958 (cast 1978)

Grande femme assise, 1958 (cast 1978)

Bronze

31 11/16 x 8 11/16 x 12 inches (80.5 x 22 x 30.5 cm)


X.2016.171

6/5/2018 36

Giacometti

6/8/2018 9/12/2018-

Ramp 6, Bay 66


Bust of Annette VIII, 1962 (cast 1965)

Buste d'Annette VIII, 1962 (cast 1965)

Bronze

23 1/4 x 11 5/16 x 9 inches (59 x 28.7 x 22.8 cm)


X.2016.164


Bust of Annette IV, 1962 (cast 1974)

Buste d'Annette IV, 1962 (cast 1974)

Bronze

23 x 9 5/16 x 8 inches (58.4 x 23.7 x 20.3 cm)


X.2016.163


Bust of Annette (aka Venice), 1962 (cast 1976)

Buste d'Annette [dit Venise], 1962 (cast 1976)

Bronze

18 3/16 x 10 7/16 x 6 3/8 inches (46.2 x 26.5 x 16.2 cm)


X.2016.162


Bust of Annette IX, 1964 (cast 1966)

Buste d'Annette IX, 1964 (cast 1966)

Bronze

17 5/8 x 7 x 5 7/8 inches (44.7 x 17.8 x 15 cm)


X.2016.165


Bust of Annette X, 1965 (cast 1982)

Buste d'Annette X, 1965 (cast 1982)

Bronze

17 5/16 x 7 3/16 x 5 1/2 inches (44 x 18.2 x 14 cm)


X.2016.166

6/5/2018 37

Giacometti

6/8/2018 9/12/2018-

Ramp 6, Bay 66


Standing Woman, ca. 1959-60 (cast 1963)

Femme debout, ca. 1959-60 (cast 1963)

Bronze

27 3/8 x 6 1/8 x 7 13/16 inches (69.5 x 15.5 x 19.8 cm)


X.2016.133

Ramp 6, Bay 65


Isaku Yanaihara in Profile, 1956

Isaku Yanaihara de profil, 1956

Oil on canvas

28 3/4 x 23 5/8 inches (73 x 60 cm)


X.2016.220


Isaku Yanaihara Seated Full-Length, 1957

Isaku Yanaihara assis en pied, 1957

Oil on canvas

61 x 27 3/8 inches (155 x 69.5 cm)


X.2016.221


Bust of Isaku Yanaihara, 1959

Isaku Yanaihara en buste, 1959

Oil on panel

9 9/16 x 7 9/16 inches (24.3 x 19.2 cm)


X.2016.218


Bust of Isaku Yanaihara, 1959

Isaku Yanaihara en buste, 1959

Oil on canvas

21 7/16 x 18 1/8 inches (54.5 x 46.1 cm)


X.2016.219

6/5/2018 38

Giacometti

6/8/2018 9/12/2018-

Ramp 6, Bay 65


Bust of Yanaihara (I), 1960

Buste de Yanaihara [I], 1960

Plaster

17 11/16 x 12 5/16 x 5 1/4 inches (45 x 31.3 x 13.4 cm)


X.2016.167


Isaku Yanaihara, ca. 1956–57

Isaku Yanaihara, ca. 1956–57

Oil on canvas

32 1/16 x 25 11/16 inches (81.4 x 65.2 cm)


X.2016.217


Isaku Yanaihara, Dec. 1956

Isaku Yanaihara, Dec. 1956

Oil on canvas

21 5/8 x 17 11/16 inches (55 x 45 cm)


X.2016.216

Ramp 6, Bay 64


Caroline in Tears, 1962

Caroline en larmes, 1962

Oil on canvas

39 3/8 x 28 3/4 inches (100 x 73 cm)


X.2016.228


Caroline Seated Full-Length, 1964–65

Caroline assise en pied, 1964–65

Oil on canvas

51 3/16 x 35 1/16 inches (130 x 89 cm)


X.2016.231

6/5/2018 39

Giacometti

6/8/2018 9/12/2018-

Ramp 6, Bay 64


Caroline, 1965

Caroline, 1965

Oil on canvas

51 3/16 x 35 1/16 inches (130 x 89 cm)


X.2016.232


Caroline in a Red Dress, ca. 1964–65

Caroline avec une robe rouge, ca. 1964–65

Oil on canvas

36 5/16 x 25 3/4 inches (92.3 x 65.4 cm)


X.2016.230

Ramp 6, Bay 63


Bust of Diego (Second Version), 1962–64 (cast 1969)

[Buste de Diego, deuxième version], 1962–64 (cast 1969)

Bronze

17 7/16 x 10 13/16 x 6 5/16 inches (44.3 x 27.4 x 16 cm)


X.2016.10514


Bust of a Man (aka Chiavenna II), 1964 (cast 1966)

[Buste d'homme, dit Chiavenna II], 1964 (cast 1966)

Bronze

15 15/16 x 9 5/8 x 4 15/16 inches (40.5 x 24.5 x 12.6 cm)


X.2016.179


Bust of Diego, 1964 (cast 1968)

Buste de Diego, 1964 (cast 1968)

Bronze

19 5/8 x 8 11/16 x 7 5/16 inches (49.8 x 22 x 18.5 cm)


X.2016.180

6/5/2018 40

Giacometti

6/8/2018 9/12/2018-

Ramp 6, Bay 63


Bust of a Man (aka New York I), 1965 (cast 1969)

Buste d'homme [dit New York I], 1965 (cast 1969)

Bronze

21 1/4 x 11 9/16 x 7 inches (53.9 x 29.4 x 17.8 cm)


X.2016.181


Bust of a Man (aka New York II), 1965 (cast 1972)

Buste d'homme [dit New York II], 1965 (cast 1972)

Bronze

18 7/16 x 9 5/8 x 6 1/4 inches (46.9 x 24.5 x 15.9 cm)


X.2016.182


Half-Length of a Man, 1965 (cast 1982)

Homme à mi-corps, 1965 (cast 1982)

Bronze

23 1/4 x 7 1/2 x 12 5/8 inches (59.1 x 19 x 32.1 cm)


X.2016.170


Head of a Man (Lotar I), ca. 1964–65 (cast 1969)

Tête d’homme [Lotar I], ca. 1964–65 (cast 1969)

Bronze

10 1/16 x 11 1/8 x 5 3/16 inches (25.5 x 28.2 x 13.2 cm)


X.2016.168


Bust of Man (Lotar II), ca. 1964–65 (cast 1969)

Buste d'homme (Lotar II), ca. 1964–65 (cast 1969)

Bronze

22 3/4 x 15 1/16 x 9 13/16 inches (57.8 x 38.2 x 25 cm)


X.2016.169

Ramp 6, Bay 62

6/5/2018 41

Giacometti

6/8/2018 9/12/2018-

Ramp 6, Bay 62


Dog, 1951 (cast 1957)

Le chien, 1951 (cast 1957)

Bronze

17 1/2 X 38 1/8 X 6 1/4 inches (44.2 X 96.8 X 15.7 cm)


Washington, D.C., Gift of Joseph H. Hirshhorn 1966

X.2016.10501

Filmmaker Ernst Scheidegger-

Alberto Giacometti, 1966

28 min, excerpt: 16 min, 5 sec

(c) Stiftung Ernst Scheidegger-Archiv, Zurich, and

Künstler-Videodokumentation Peter Münger, Zurich. Film edit courtesy

Tate, London.

X.2017.1664

6/5/2018 42

THE GIACOMETTI FOUNDATION

Directed by Catherine Grenier, The Giacometti Foundation, Paris, is a private institution of public

interest recognised by the French state (reconnue d’utilité publique), created in December 2003. Its

goal is to protect, present, and communicate regarding the work of Alberto Giacometti. The

Foundation is the global legatee of Annette Giacometti, the artist’s widow, and possesses the

greatest collection of Alberto Giacometti’s works in the world. It includes over 350 sculptures, 90

paintings, 2 000 drawings and the equivalent amount of etchings, which the Foundation is

responsible for conserving, restoring, and enhancing. The Giacometti Foundation has a remarkable

archive of photographs, documentation, and correspondence from the artist. It also conserves the

artist’s manuscripts and notebooks, copper plates, as well as most of Giacometti’s library:

magazines, books, exhibition catalogues, newspapers, including some that became media for his

annotations or drawings.

THE FOUNDATION’S MISSIONS

The Giacometti Foundation is dedicated to the conservation and dissemination of its collections

(drawings, paintings, etchings, plaster and bronze casts), and showcases Alberto Giacometti’s work

on the international stage.

Its activities notably include: presentation to the public of Alberto Giacometti’s work through the

organisation of thematic and monographic exhibitions in French or foreign museums, the

establishment of a catalogue of authentic artworks by the artist, organisation or participation in

various cultural events, and the publication or participation in the publication of research into the work

of Alberto Giacometti. The Foundation organises the authentication committee of artworks by the

artists and defends the work in France and abroad.

THE GIACOMETTI INSTITUTE

On June 21, 2018, the Foundation will open the Giacometti Institute, a new permanent space in Paris

dedicated to exhibitions, as well as art historical research and pedagogy. Directed by Catherine

Grenier, the Institute aims to provide new perspectives on Giacometti’s work and on the creative

period in which it emerged. Located in the same neighbourhood that Giacometti lived and worked in,

the Institute will feature a reconstruction of the artist’s studio; a collection of nearly 5,000 drawings,

lithographs, and notebooks from Giacometti, many of which have never been made public; a program

of temporary exhibitions; and a research center dedicated to the history of modernism.

Sponsor Statement Lavazza today took yet another important step in its global commitment to being a promoter of the arts and culture worldwide by supporting the Giacometti at the Guggenheim Museum in New York. The Giacometti exhibition provides visitors with a comprehensive look at the artistic legacy of Swiss‐born Alberto Giacometti (1901‐1966). Marking the fifth year and exhibition supported by Lavazza at the iconic Guggenheim Museum in New York, the June 8th date of the public opening of Giacometti coincides with the much‐anticipated opening of the Lavazza Museum at Nuvola Lavazza, the company’s new and innovative global headquarters in their hometown of Turin. Lavazza began its partnership with the Guggenheim New York in 2014 with the support of the exhibition Italian Futurism, 1909–1944: Reconstructing the Universe. The multi‐year collaboration not only sees Lavazza as cultural patron, but also with a presence onsite with two Lavazza pop up cafés as well as authentic Italian coffee experiences in the Museum’s acclaimed restaurant, The Wright. As the “Global Partner” collaboration between the Guggenheim Foundation and Lavazza grew, Francesca Lavazza, a fourth‐generation member of the family at the helm of the company, was invited to join the Solomon R. Guggenheim Foundation Board of Trustees in 2016. Furthermore, in 2017 Lavazza expanded its commitment to the Guggenheim Foundation by forging a strategic partnership with the Peggy Guggenheim Collection in Venice. The Giacometti exhibition provides Lavazza with yet another opportunity to continue to spearhead arts and culture projects worldwide, drawing from more than 25 years of tradition in this space. Projects led by Lavazza range from working with some of the world’s greatest photographers for the annual Lavazza Calendar, to several photography initiatives and stand‐alone exhibits tied to the ¡Tierra! sustainable coffee range, through to the patronage of important cultural institutions both in Italy and abroad that include the prestigious State Hermitage Museum in St. Petersburg, Russia. Currently on view at the Hermitage is a Lavazza‐supported exhibition titled Arte Povera. A Creative Revolution. “Lavazza is pleased to collaborate with the Solomon R. Guggenheim Museum on this ambitious exhibition devoted to the work of Alberto Giacometti, one of the most influential and innovative artists of the twentieth century. Our support of this project reaffirms the vision we share with the Guggenheim: that art offers moments for reflection and exploration, helping to build sensory paths to a better future. Transforming raw materials into something entirely new, Giacometti’s work perfectly captures the tensions of the period in which it was conceived—the long wave that followed World War II—yet succeeds in anticipating many prominent themes in contemporary society: the transition from the corporeal to the incorporeal, the interaction of the human and the post‐human, the opalescence of truth and realism. Indeed, this exhibition demonstrates the desire to be unafraid in times of adversity, recognizing that the best things are sometimes born of crisis. Support of the Giacometti exhibition represents the Lavazza family’s sensibility towards a lateral and innovative form of art. Indeed, the focus of the Lavazza company’s mission has always been creativity, with the aim of making Lavazza a company that generates culture and innovation, especially around the authentic Italian coffee experiences it has been providing for more than 120 years. It is for this very reason that, throughout its history, Lavazza has maintained strong ties with the most imaginative art, made by those farthest ahead of the curve. Our work with the Guggenheim Foundation demonstrates our dedication and commitment to an idea—to pushing ourselves always to do better, with courage and humility, while respecting the traditions to which we belong. Accordingly, our choice to support this project on Giacometti is no coincidence. Just as the sculptor was obsessed throughout his life with the idea of going beyond the objective limits imposed by the senses, the Lavazza family has always tried to go beyond the concept of enterprise and innovation, building up production communities around individuals. From Turin to New York, we are honored to be part of this story and to contribute to the creation of experiences designed to leave an indelible mark on the memory of those who take part in them. Giacometti, as well as paying tribute to the work of a great artist, strives to present an open and brave vision of our future, imagining a world that does not yet exist.”

Francesca Lavazza

Member, Lavazza Board Member, Solomon R. Guggenheim Foundation Board of Trustees

About Lavazza and its commitment to promoting the arts and culture Lavazza has a long history of promoting the arts and culture. From its first steps taken with revolutionary campaigns created by the undisputed Italian advertising genius Armando Testa, through to the celebration of artistic creativity represented by the Lavazza Calendar, the company has always been a pioneer in the visual arts. From photography and design to fine advertising graphics, today Lavazza is a partner of leading international art museums. These include: the Guggenheim Museum in New York (USA), the Peggy Guggenheim Collection (Venice), the Musei Civici Veneziani in Venice (Italy), and the State Hermitage Museum in Saint Petersburg (Russia). Lavazza also offers its support to the MUDEC (Museum of Cultures) in Milan, the Merz Foundation, Camera (the Italian Center for Photography) and Circolo dei Lettori in Turin and to top international art and photography events worldwide, including the Mia Photo Fair in Milan and exhibitions by Steve McCurry, the author of the ¡Tierra! series of photographs shot in Honduras, Peru, Colombia, India, Brazil, Tanzania, Ethiopia and Vietnam, taking viewers on a journey to discover coffee trading routes and communicating all the passion and commitment that the Lavazza Foundation invests in coffee‐producing communities. Lavazza has furthermore worked for over 25 years with some of the most illustrious photographers in the world to create the Lavazza Calendars shot by the likes of Platon, Helmut Newton, Annie Leibovitz, David LaChapelle and Thierry Le Gouès among others. About Lavazza Group Established in 1895 in Turin, the Italian roaster has been owned by the Lavazza family for four generations. Among the world’s most important roasters, the Group currently operates in more than 90 countries through subsidiaries and distributors, exporting 63% of its production. Lavazza employs a total of about 3,000 people with a turnover of about €2.0 billion in 2017. Lavazza invented the concept of blending — or in other words the art of combining different types of coffee from different geographical areas — in its early years and this continues to be a distinctive feature of most of its products. The company also almost 30 years’ experience in production and sale of portioned coffee systems and products. It was the first Italian business to offer capsule espresso systems. Lavazza operates in all business segments: at home, away‐from‐home and office coffee service, always with a focus on innovation in consumption technologies and systems. Lavazza has been able to develop its brand awareness through important partnerships perfectly in tune with its brand internationalization strategy, such as those in the world of sport with the Grand Slam tennis tournaments, and those in fields of art and culture with prestigious museums like New York’s Guggenheim Museum, the Peggy Guggenheim Collection Venice, and The Hermitage State Museum in St. Petersburg, Russia. As the company continues on a strategic globalization path, the Lavazza Group has acquired local jewels in key markets such as France’s Carte Noire (2016), Denmark’s Merrild (2015) and North America’s Kicking Horse Coffee (2017). Additionally, in 2017 the Group amplified its distribution reach with the acquisition of France’s Espresso Service Proximité and Italy’s Nims.

Press contacts:

Simona Busso, Lavazza, +39 335‐549‐2296, [email protected]

Robert Roberts, Burson Marsteller, +1 212‐614‐4029, [email protected]