January 30, 2013

ALBERTO GIOCOMETTI AT BUCERIUS KUNST FORUM




ALBERTO GIACOMETTI ENCOUNTERS AT
BUCERIUS KUNST FORUM
26 January 2013 - 20 May 2013
A

ALBERTO GIACOMETTI ENCOUNTERS AT BUCERIUS KUNST FORUM
26. January 2013 - 20. May 2013
This exhibition at the Bucerius Kunst Forum takes a comprehensive look for the first time at Giacometti’s (1901 - 1966) portrait art. Portraits run through his entire body of work and shed light on his character and art like no other area. The portraits Giacometti created of his family over the years and his likenesses of the artists and philosophers in his circle of friends around Jean-Paul Sartre and Simone de Beauvoir in Paris illustrate this creative process. Interwoven human relationships continually inspired him to deal with the face and figure of his sitters in new ways. Following his Surrealist beginnings, he dealt with Existentialist philosophy and conveyed it in his anonymous portraits, including his stretched and elongated sculptures – the essence of his creative body of work.
Major, rarely seen loans from the artist’s family enable us to approach Giacometti’s work in a new way. Other sculptures, paintings and drawings are on loan from German and international museums and private collections.
You may visit Alberto Giacometti Studio Photographs had taken by Ernst Scheidegger and Alberto Giacometti's exhibition news at Gagosian Gallery Hong Kong to click below links.

http://mymagicalattic.blogspot.com.tr/2014/03/alberto-giacometti-without-end-at.html




STANDING NUDE – CIRCA 1946 - 1948
Technique Oil on Toile Découpée
Dimensions: 6,69 x 2,59 in.
Collection Fondation Alberto et Annette Giacometti
Rights © Giacometti Estate (Fondation Giacometti, Paris and ADAGP, Paris) 2014
B

 EXHIBITION VIEW ‘’ ALBERTO GIACOMETTI – ENCOUNTERS ‘’
Photo: Ulrich Perrey
C

FRAU FUR VENEDIG V, 1956
Privatsammlung, Schweiz
© Succession Alberto Giacometti (Fondation Alberto et
Annette Giacometti, Paris + ADAGP, Paris), 2013


EXHIBITION VIEW ‘’ ALBERTO GIACOMETTI – ENCOUNTERS ‘’
Photo: Ulrich Perrey
C
C

FRAU FUR VENEDIG V, 1956 ( DETAIL )



EXHIBITION VIEW ‘’ ALBERTO GIACOMETTI – ENCOUNTERS ‘’
Photo: Ulrich Perrey

A
WALKING MAN 1960
A
 C
EXHIBITION VIEW ‘’ ALBERTO GIACOMETTI – ENCOUNTERS ‘’
Photo: Ulrich Perrey
C
 C
SCHMALE BUSTE AUF SOCKEL ( GENANNT AMENOPHIS ) 1954
Privatsammlung, Schweiz
© Succession Alberto Giacometti (Fondation Alberto et
Annette Giacometti, Paris + ADAGP, Paris), 2013


C
EXHIBITION VIEW ‘’ ALBERTO GIACOMETTI – ENCOUNTERS ‘’
Photo: Ulrich Perrey
C
A
MANNLICHE HALBFIGUR 1964
C








BUCERIUS KUNST FORUM




BUCERIUS KUNST FORUM
Located in the heart of Hamburg next to the Rathaus, the Bucerius Kunst Forum invites its visitors to take part in a stimulating encounter with artistic masterpieces. Interpreted from a contemporary perspective, international art from ancient to modern times is shown in four rotating exhibition each year. Since its foundation in 2002, the Bucerius Kunst Forum has become one of the leading exhibition houses in northern Germany.
All exhibitions are supplemented with a versatile program of events: Concerts, lectures, readings and discussions illustrate the subject of each exhibition from the perspective of the various arts.
http://www.buceriuskunstforum.de/en/about-us/


















BUST OF MAN SEATED (LOTAR III) 1965
Bronze Patinated
Dimensions: 25,86 x 11,22 x 14,17 in.
Collection: Fondation Alberto et Annette Giacometti
Rights © Giacometti Estate (Fondation Giacometti, Paris and ADAGP, Paris) 2014






BUST OF DIEGO WITH TURTLENECK IN THE STUDIO – CIRCA 1952
 Pen and Ink on Paper
Dimensions: 13,07 x 9,99 in.
Collection: Private collection
Rights © Giacometti Estate (Fondation Giacometti, Paris and ADAGP, Paris) 2014














MANNLICHER KOPF ( LOTAR I ) , 1964
Privatsammlung, Schweiz
© Succession Alberto Giacometti (Fondation Alberto et
Annette Giacometti, Paris + ADAGP, Paris), 2013








SIMONE DE BEAUVOIR, UM 1946
Privatsammlung, Schweiz
© Succession Alberto Giacometti (Fondation Alberto et
Annette Giacometti, Paris + ADAGP, Paris), 2013


























A
ALBERTO GIACOMETTI 1951
ENCOUNTERS
Viewers of the tall, elongated female figures and the ‘Walking Man’ respond to them in different ways. While the women seem remote and inaccessible, we approach the male with something more like empathy; we follow his hesitant gait, we identify with him. For Giacometti, such encounters are at the core of what it means to be a human being. A number of his sculptures bear witness to a phenomenon that Giacometti experienced as part of his artistic work every day after returning to the study of models in 1949, and one that he wants the viewer to share: the almost living presence of the other person. This perceptual situation corresponds less to Existentialism à la Sartre, in which the “I” is completely centred on itself, and consequently isolated, and experiences the “other” primarily as a threat, than to the relationship of dialogue between the self and the world, anchored in the body, that we see in the phenomenology of Merleau-Ponty. ‘The Cage’ can thus be understood as the representation in model form of Giacometti’s phenomenological realism: the head growing out of the box, as self-consciousness within its own conceptual space circumscribed by the framework, appropriates the image of the reality it encounters, reproduced as a statuette.
This absorption of the external within the self stands in contradistinction to the movement out into the world that is implicit in seeing and perceiving. In his ‘Four Figurines on a Stand’ Giacometti depicts four women, small and far away, beyond the receding perspective of the polished floor. The real topic is the visual and affective relationship of artist or viewer to reality as seen, conveyed through the form of the base. The highpoint of this series is ‘The Chariot’. The twofold movement of the process of perception, the tension between self-revelatory rapprochement and the withdrawal and retreat of the ultimately inexhaustible other, finds its most perfect visual expression in the metaphor of the chariot. This contraption, a half-floating pedestal construction, marks the threshold between the sphere of the figure and that of the viewer. It elevates the appearance of the archetypal woman to the status of an epiphany.
http://www.giacometti-stiftung.ch/index.php?sec=alberto_giacometti&page=begegnen&language=en
LATE WORKS
In late 1949 and early 1950, while still working on the disembodied sculptures drawn from memory, Giacometti returned in his painting to the study of the model. Once again, drawing helped him find a solution to the artistic problems he faced. In his efforts to transpose perceived nature into the persistent reality of the image in such a way that the vital polysemy of the seen and experienced is retained, he reverts back to the graphic artist’s technique of tracing the movements of the eye, the gaze, with the pencil or paintbrush, restlessly sketching around the forms, dissolving their outlines into a breathing space, compacting their centres to energy cores. 
As in the craggy surfaces of his sculptures, Giacometti thus achieves a complete transformation and dematerialization of the representational, which nevertheless appears as a realistic image in the painting. His experience of “visions” and his phenomenological reflections enable him to configure what is actually in front of him as an internal image; the inner frame marks this difference. The evocative yet impalpable details, the void between (and indeed within) things, point to the openness and diffuseness of the mental conceptual space, which acts as intermediary between external reality and that which is visible on the canvas.
In 1951, Giacometti’s work with models led him to establish a greater sense of proximity and corporeality in his sculptures. In his busts of Diego he sought to evoke the living presence of the other through the activation of perception. A first series of works brings this internal perspective to bear on the relationship between head and body. In ‘Diego in a Sweater’, for example, the remoteness and reduction of the head concentrates the entire energy in this core, its charisma dominating everything around it. 
The other series culminates in the ‘Large Head of Diego’, in which Giacometti emphasizes that particular characteristic of the human head which allows it to exhibit two entirely different views, whose psychological expression cannot ultimately be conveyed. He draws the instinctively dominant frontal view closer to the attenuated figures and compensates for it with the broad development of the profile, with which he clearly associates death. He uses the subtly nuanced flattening to activate the view from the fore: the sense of depth in the elongated form that runs from the chin close to us, via the nose and the eyes to the distant ears, combined with the tension between the two halves of the face, forces us to constantly refocus our gaze.
By depicting the act of seeing in this way, Giacometti allows us to perceive an arresting vitality in the head. And every viewer of the work, by completing the task of the seeing and shaping artist, re-invokes the enigmatic presence of his fellow human being. Creating that presence with ever-renewed intensity was Giacometti’s chief goal until the very end of his life. In the portraits of Caroline and other late heads, such as our ‘Head of a Man I (Diego)’, he achieved an almost magical actuality through the medium of painting. Among his sculptures, however, it is the three busts of Elie Lotar, with their dramatic tension between the chaotically formless body and the perfectly sculpted head emerging from the base material, that his work achieves its final culmination.
You may read Alberto Giacometti' s entire biography from his web page to click below web adress.

A







Posted by at