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Alberto & Diego Giacometti

Switzerland
GIACOMETTI Alberto & Diego Bust Of Diego

William Doyle
Nov 1, 2016
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Artworks in Arcadja
74

Some works of Alberto & Diego Giacometti

Extracted between 74 works in the catalog of Arcadja
Alberto & Diego Giacometti - Couple Cubiste

Alberto & Diego Giacometti - Couple Cubiste

Original
Estimate:

Price:

Lot number: 338
Other WORKS AT AUCTION
Description:
Alberto Giacometti (1901-1966) Couple cubiste signed and numbered 'Alberto Giacometti 4/8' (on the back); inscribed with foundry mark 'Susse Fondeur Paris' (on the left side); stamped with foundry mark 'SUSSE FONDEUR PARIS CIRE PERDUE' (on the underside) bronze with brown patina Height: 26 1/8 in. (66.3 cm.) Length: 17 ½ in. (44.5 cm.) Width: 14 ¾ in. (37.5 cm.) Conceived circa 1926-1927; this bronze version cast by the estate of the artist
Alberto & Diego Giacometti -  Buste De Diego

Alberto & Diego Giacometti - Buste De Diego

Original 1954
Estimate:

Price:

Gross Price
Lot number: 32
Other WORKS AT AUCTION
Description:
Alberto Giacometti (1901-1966) Buste de Diego oil on canvas 18 1/8 x 14 7/8 in. (46 x 37.7 cm.) Painted circa 1954

Giacometti painted this Buste de Diego circa 1954, the same time that he completed Diego en chemise écossaise, widely regarded as the most impressive portrait he created of his brother and favourite model (sold at Christie\’\’\’\’\’\’\’\’s New York in 2013, where it achieved the still record sum at auction for any painting by this artist). The latter work is one of a series of major portraits that Giacometti realised during the mid-1950s – others depict his wife Annette, the writer Jean Genet, the artist\’\’\’\’\’\’\’\’s collectors Peter Watson and G. David Thompson. These classic works constitute a definitive statement of Giacometti\’\’\’\’\’\’\’\’s achievement as a painter. The present Buste de Diego represents another aspect of Giacometti\’\’\’\’\’\’\’\’s production during this significant period, paintings in smaller formats that embody and record the day-to-day efforts of the artist at his easel. In works of this kind, Giacometti most clearly revealed his method - intensely inward, intuitive, probing, improvisational, exploratory, and unflinchingly self-critical - as he pitted the skill of his technique, assessing after each sitting the authority of the result, against the vision of the likeness, that sense of a real presence, which he perceived in his mind\’\’\’\’\’\’\’\’s eye and held up as his goal. \‘The visionary quality that Giacometti wanted to convey is not of the fleeting impression,\’\’\’\’\’\’\’\’ Christian Klemm has written. \‘Rather, it was the essential presence of the human being, as it appears to the artist, that he sought to grasp… And this he wanted to capture as a momentary experience, as in an epiphany: \“to create [Giacometti declared] a complete whole all at once\”\’\’\’\’\’\’\’\’ (exh. cat., Alberto Giacometti, The Museum of Modern Art, New York, 2001, p. 222). This outcome, as the artist would eventually and freely concede, was impossible to achieve. \‘From the mid-1950s on,\’\’\’\’\’\’\’\’ David Sylvester observed, \‘the paintings and sculptures alike became increasingly expressive of the difficulties in making them\’\’\’\’\’\’\’\’ (Looking at Giacometti, New York, 1994, p. 82). The serious admirer of Giacometti\’\’\’\’\’\’\’\’s oeuvre may discover in Buste de Diego a revelatory experience of this private, existential drama. A painting of this kind is perhaps the only means left to the viewer today to enter into the complex, doubt-driven, and often anguished thinking of Giacometti\’\’\’\’\’\’\’\’s creative genius. \‘His procedure turns into a stubborn, furious pursuit of a prey which escapes him or a shadow which he rejects,\’\’\’\’\’\’\’\’ Jacques Dupin wrote. \‘The closer he comes to the truth of the object, the more he deepens the gulf which separates him from it, the more he feels and communicates the acute feelings of his difference and separation\’\’\’\’\’\’\’\’ (Giacometti: Three Essays, New York, 2003, p. 11). The tactile aspect of the surface, the sheer accumulation of paint on this canvas, are evidence that Giacometti worked on Buste de Diego over an extended period of time, in repeated sessions, as he set down layers of transient imagery that only X-ray analysis may someday bring to light. The artist painted Buste de Diego on a no. 8 figure canvas, the same size he selected for a portrait of his physician and close friend, Dr Théodore Fraenkel, which he also completed around this time. The impromptu oil study that appears on the unprimed reverse of Buste de Diego may depict the doctor\’\’\’\’\’\’\’\’s head. Giacometti perhaps began working on the present picture as a portrait of his friend; both compositions are weighted heavily along the lower edge, tonally, and in the thickest application of paint. Another possibility is especially intriguing: Giacometti may have conceived this canvas as an atelier composition, employing an arrangement of sculptures chosen from among the plaster models he had then been working on, or kept at hand in his cramped studio. The lower, central portion of this painting is thick with clotted pigment, the detritus of pentimenti left behind from numerous forays at the easel. The efect is akin to the dense build-up of matière that Jean Fautrier incorporated into his famous wartime \‘hostage\’\’\’\’\’\’\’\’ paintings, Georges Braque in his late compositions, including his own Atelier series, as well as the Art Informel textures of Jean Dubufet and other contemporaries. This Buste de Diego, then, may not be a painted portrait of the artist\’\’\’\’\’\’\’\’s brother, but actually a representation in oil of one of the sculptures that Giacometti modelled on Diego after 1950, when he returned to working from a live model, to study the presence of the head, bust, and figure as they exist in real space. The sculpture Giacometti chose to showcase in this composition is possibly Tête de Diego au col roulé, 1951, or among more recent plasters, perhaps Diego au manteaux, 1953, or even one of the wide-base busts, modelled like Alpine crags, with heads cut thinly along the sides, such as Diego au blouson, 1953 or the well-known Grande tête mince, 1954. The rubbed and overpainted area in the upper half of the canvas suggests that Giacometti first painted this plaster model in a larger size. The ascending curve of raised texture to the left of Diego\’\’\’\’\’\’\’\’s visage is likely the pigment that comprised this original head, which Giacometti subsequently scraped to the side. Along the left edge he painted one of the tabletop-sized figures of Annette, modelled during 1953-1954, that anticipate the celebrated Femmes de Venise of 1956. The female profile on the right side, with an extended arm that appears to rest on Diego\’\’\’\’\’\’\’\’s shoulder, may be the figure which Giacometti set atop Chariot, cast in 1951-1952. Having erased the image of the large plaster head, Giacometti concluded work on this canvas by returning to the very beginning of his creative process, by drawing with paint into this void a smaller visage of Diego, with the contours of his shoulders – whether as the sculpture, or the man himself, we cannot be certain. A spectral rendering of Diego\’\’\’\’\’\’\’\’s white facial highlights mysteriously hovers overhead, like a disembodied spirit, an astral projection. An aura of pale paint emanates from each of the three figures, which emerge like apparitions summoned forth from the darkness of a room, or the twilight of memory. Buste de Diego, as Giacometti completed this painting, resembles an actual wall in his studio, a space covered with an ever-thickening grey film of dust, plaster, and paint, with surfaces fissured and pock-marked, illuminated here and there with the artist\’\’\’\’\’\’\’\’s painted studies and drawn graffiti. The artist painted on this canvas, within the confines of the frame outline he customarily sketched around the edges of every composition, only several objects. These elements resonate, however, as phenomena in multiple guises, within complex dimensions of time and space, as if Giacometti had attempted here \‘to create a complete whole all at once.\’\’\’\’\’\’\’\’
Alberto & Diego Giacometti - Atelier Ii

Alberto & Diego Giacometti - Atelier Ii

Original 1954
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Price:

Lot number: 521
Other WORKS AT AUCTION
Description:
Sale 2429 Lot 521 ALBERTO GIACOMETTI Atelier II. Lithograph on cream wove Arches, 1954. 498x651 mm; 19 5/8x25 5/8 inches, full margins. Signed and numbered 8/30 in pencil, lower margin. Published by Maeght, Paris. A very good impression of this large, scarce lithograph. A view of the artist's Paris studio at mid-century. According to the Fondation-Giacometti, Paris, "On 1 December 1926, Alberto Giacometti moved into a studio with mezzanine measuring 15 feet by 16 feet at 46 rue Hippolyte-Maindron. The studio was part of a building complex off the rue d'Alésia, at the corner of the rue du Moulin Vert. Around 1932, he rented the studio just opposite his for his brother, who had joined him as his assistant. In spite of having frequently expressed his desire to move out of his studio during the 1930s, due to the lack of comfort and the leaks caused by faulty roofing, Giacometti moved in permanently to the rue Hippolyte-Maindron after the war, upon his return to Paris in September 1945." Lust 15
Alberto & Diego Giacometti - Bust Of Diego

Alberto & Diego Giacometti - Bust Of Diego

Original 1960
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Price:

Lot number: 76
Other WORKS AT AUCTION
Description:
Lot Details Lot 76 Alberto Giacometti Swiss, 1901-1966 Bust of Diego, 1960 Signed Alberto Giacometti and numbered 5/6 on the lower back Bronze with green and dark brown patina Height 8 1/8 inches (20.6 cm) Provenance: Pierre Matisse Gallery, New York, purchased Feb. 28, 1964 Exhibited: New York, Harmonie Club, Sculpture and Drawings by Sculptors, Apr. 7 - 25, 1966, cat. no. 29 The original receipt from Pierre Matisse Gallery accompanies this lot. Alberto Giacometti, from the mid 1950's on, began working from life, drawing and sculpting heads of his friends and family. One of his most important subjects was his younger brother Diego, who had sat for a sculpted portrait when Alberto was only thirteen. He became the artist's alter ego, although a talented artist and sculptor himself. Diego's high forehead and sharp profile, are instantly recognizable in many works throughout the artist's life, growing in intensity, as Giacometti focused on the powerful gaze. The artist is quoted as having said: 'The object of art is not to reproduce reality, but to create a reality of the same intensity.' C The Eileen & Herbert C. Bernard Collection
Alberto & Diego Giacometti - Nude With Flowers

Alberto & Diego Giacometti - Nude With Flowers

Original 1960
Estimate:
Starting price:

Price: Not disclosed
Lot number: 25
Other WORKS AT AUCTION
Description:
Alberto Giaccometti, Nude With Flowers, Lithograph, 1960
Lithograph on wove paper 'BFK Rives' (watermark)
France, 1960
Alberto Giacometti (1901-1966) - Swiss sculptor, painter and printmaker, brother of Diego Giacometti
Signed \‘Alberto Giacometti\’\’\’\’\’\’\’\’ in pencil
Copy aside from the edition of 90 copies
Published by Maeght, Paris
Image dimensions: 37.6 x 29 cm; sheet dimensions: 65.3 x 50.4 cm
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