The Idea — the Form — the Content
Total Page:16
File Type:pdf, Size:1020Kb
Load more
Recommended publications
-
Alberto Giacometti and the Crisis of the Monument, 1935–45 A
UNIVERSITY OF CALIFORNIA Los Angeles Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 A dissertation submitted in partial satisfaction of the requirements for the degree Doctor of Philosophy in Art History by Joanna Marie Fiduccia 2017 Ó Copyright by Joanna Marie Fiduccia 2017 ABSTRACT OF THE DISSERTATION Hollow Man: Alberto Giacometti and the Crisis of the Monument, 1935–45 by Joanna Marie Fiduccia Doctor of Philosophy in Art History University of California, Los Angeles, 2017 Professor George Thomas Baker, Chair This dissertation presents the first extended analysis of Alberto Giacometti’s sculpture between 1935 and 1945. In 1935, Giacometti renounced his abstract Surrealist objects and began producing portrait busts and miniature figures, many no larger than an almond. Although they are conventionally dismissed as symptoms of a personal crisis, these works unfold a series of significant interventions into the conventions of figurative sculpture whose consequences persisted in Giacometti’s iconic postwar work. Those interventions — disrupting the harmonious relationship of surface to interior, the stable scale relations between the work and its viewer, and the unity and integrity of the sculptural body — developed from Giacometti’s Surrealist experiments in which the production of a form paradoxically entailed its aggressive unmaking. By thus bridging Giacometti’s pre- and postwar oeuvres, this decade-long interval merges two ii distinct accounts of twentieth-century sculpture, each of which claims its own version of Giacometti: a Surrealist artist probing sculpture’s ambivalent relationship to the everyday object, and an Existentialist sculptor invested in phenomenological experience. This project theorizes Giacometti’s artistic crisis as the collision of these two models, concentrated in his modest portrait busts and tiny figures. -
Alberto Giacometti
ALBERTO GIACOMETTI ..................................................................................................................................................................................................................... Genius manifest in art Texts by Beat Stutzer, Franco Monteforte, Casimiro Di Crescenzo, Christian Dettwiler Genius manifest in art ..................................................................................................................................................................................................................... Alberto Giacometti, 1901–1966 by Beat Stutzer* Page I: Alberto Giacometti in the courtyard to his atelier in Paris, ca. 1958. This portrait is featured on Switzerland’s 100-franc banknote. On this page: Alberto Giacometti in his atelier in Paris, ca. 1952. Left: Alberto Giacometti’s Self-portrait , ca. 1923. Oil on canvas, on wood: 55 x 32 cm. Kunsthaus Zürich, Alberto Giacometti Foundation. Alberto Giacometti ..................................................................................................................................................................................................................... Virtually every book or article on Alberto bathed in sunlight. Its bare landscape and Giacometti includes some element of tough climate had a great influence on the biography. Some publications illuminate rural population here. The people of Bergell Giacometti’s life through the use of a spe - were used to hardship and deprivation, as cial literary treatment, -
Art, Crafts and Design As Themes on Swiss Stamps Richard Donithorn
Art, Crafts and Design as Themes on Swiss Stamps Richard Donithorn -------------------------------------------------------------------------------------------------------------------------------------------------------- Art, Crafts and Design as Themes on Swiss Stamps Zumstein catalogue numbers are used throughout this document. The compiler would welcome answers to the queries (??) highlighted and any other corrections/additions to the text. Painters and Painters' works on stamps . Z243 Historical Subjects Definitives – Based on painting by James Vibert – 'The Oath of Union'. Z244, 245, 246 of Yr.1941 Historical Subjects Definitives - based on paintings by Ferdinand Hodler showing William Tell, 'The Kneeling Warrior' and 'The Dying Ensign'. The latter two?? from the painting 'Rückzug aus Marignano'. Z247 Historic Subjects Definitive – Based on painting by Niklaus Deutsch 'The Standard Bearer'. Z511 Portrait of Alberto Giacometti by Hans Erni . Z513 Portrait of Le Corbusier by Hans Erni . Z565 – 567 Europa theme: Painting – 'Le Mönch' ('The Monk') - Ferdinand Hodler, 'Still Life with Guitar' - René Auberjonois, 'L'efeuilleuse' - Maurice Barraud . Z627 Portrait of Paul Klee by Hans Erni . Z637 Swiss Arts and Craft Centre 50th Anniversary . Z638 Centenary of the Swiss Art History Society . Z651 'The Parish Clerk' by Albert Anker . Z725/26 Europa theme: 'Protection of Nature & the Environment'–Man/Woman's heads by Hans Erni . Z769 Swiss-French joint issue - 'Meta' by Jean Tinguely . Z802 Portrait of Angelika Kaufmann by Hans Erni (also appears on Liechtenstein Z750) . Z804 Portrait of Frank Buchser by Hans Erni . Z827 Sketch of statue of Christopher Columbus by Vincenzo Vela . Z828 – 830 Comic/Graphic Art – Bernard Cosendal, Phillippe Chappuis, Yves Robellaz . Z848 – 851 Women artists: Pictures titled: 'Work No. 095' by Emma Kunz, 'Great Singer Lilas Goergens' by Aloïse, 'Under the Rain Cloud' by Meret Oppenheim, 'Four Spaces with Horizontal Band' by Sophie Taeuber-Arp (see also Dadaism stamp in Yr. -
Ars Libri, Ltd. / 500 Harrison Ave. / Boston, MA 02118 Electronic List
ARS LIBRI ELECTRONIC LIST 117: MODERN ART Ars Libri, Ltd. / 500 Harrison Ave. / Boston, MA 02118 [email protected] / www.arslibri.com / tel 617.357.5212 / fax 617.338.5763 Electronic List 117: Modern Art 1 Roma. Mario Diacono. JEAN MICHEL BASQUIAT: Il campo vicino l’altra strada. 23 ottobre - 20 novembre 1982. (4)pp. (single sheet of tan wove card stock, imprinted in red letterpress). Lrg. 8vo. Self-wraps. The very first catalogue, and the first monograph, published on the work of Jean-Michel Basquiat, with a densely written text by Mario Diacono. The exhibition was devoted to the display of a single major painting, “Il campo vicino l’altra strada” (“The Field Next to the Other Road”). Mario Diacono notes that this painting has been at times incorrectly dated 1981, and mentioned as painted and exhibited that year in Modena at the Galleria Emilio Mazzoli, in the show titled SAMO. The work was indeed painted in Modena, but in 1982, for another exhibition that Basquiat had in fact planned at the Galleria Mazzoli which never actually took place. By an agreement between Basquiat's primary dealer at the time, Annina Nosei, and the Galleria Diacono, the work was then exhibited in Rome, in October 1982. Its price was set at 7 million lire, or about $5,000. In May 2015, the painting was sold at Christie’s for $37,125,000. Roma, 1982. $3,000.00 Brooklyn Museum: Basquiat. Edited by Marc Mayer (Brooklyn, 2005), p. 216 (“Monographs and One- and Two-Person Exhibition Catalogues”) ARS LIBRI 2 ELECTRONIC LIST 117: MODERN ART 2 (BIENERT COLLECTION) GROHMANN, WILL. -
La Famiglia Giacometti
La famiglia Giacometti Autor(en): Lietha, Walter Objekttyp: Article Zeitschrift: Quaderni grigionitaliani Band (Jahr): 75 (2006) Heft 2 PDF erstellt am: 11.10.2021 Persistenter Link: http://doi.org/10.5169/seals-57296 Nutzungsbedingungen Die ETH-Bibliothek ist Anbieterin der digitalisierten Zeitschriften. Sie besitzt keine Urheberrechte an den Inhalten der Zeitschriften. Die Rechte liegen in der Regel bei den Herausgebern. Die auf der Plattform e-periodica veröffentlichten Dokumente stehen für nicht-kommerzielle Zwecke in Lehre und Forschung sowie für die private Nutzung frei zur Verfügung. Einzelne Dateien oder Ausdrucke aus diesem Angebot können zusammen mit diesen Nutzungsbedingungen und den korrekten Herkunftsbezeichnungen weitergegeben werden. Das Veröffentlichen von Bildern in Print- und Online-Publikationen ist nur mit vorheriger Genehmigung der Rechteinhaber erlaubt. Die systematische Speicherung von Teilen des elektronischen Angebots auf anderen Servern bedarf ebenfalls des schriftlichen Einverständnisses der Rechteinhaber. Haftungsausschluss Alle Angaben erfolgen ohne Gewähr für Vollständigkeit oder Richtigkeit. Es wird keine Haftung übernommen für Schäden durch die Verwendung von Informationen aus diesem Online-Angebot oder durch das Fehlen von Informationen. Dies gilt auch für Inhalte Dritter, die über dieses Angebot zugänglich sind. Ein Dienst der ETH-Bibliothek ETH Zürich, Rämistrasse 101, 8092 Zürich, Schweiz, www.library.ethz.ch http://www.e-periodica.ch WALTER LIETHA Traduzione a cura di Nicola Zala La famiglia Giacometti Sulla storia della famiglia bregagliotta Giacometti si contano sinora studi e pubblicazioni riguardanti solo la cerchia parentale del famoso artista. Anche queste, seppur allargate, descrizioni non hanno la pretesa di essere una ricerca familiäre esaustiva. Dovrebbero perö aumentare l'interesse e la conoscenza nei confronti di questa importante famiglia. -
Bruno Giacometti - Telegraph 2012Nov 28 Fri17sat 08:56
Bruno Giacometti - Telegraph 2012Nov 28 Fri17Sat 08:56 Bruno Giacometti Bruno Giacometti, who has died aged 104, was the last surviving member of a notable family of artists and sculptors — among them his brother Alberto Giacometti — but chose to follow a different vocation, becoming a leading architect in Switzerland. The Giacometti family, with Bruno (on his father's knee), Alberto (left) and Diego (front, seated) 5:55PM BST 30 Mar 2012 The youngest of four children, Bruno Giacometti was born on August 24 1907 at Stampa, a hamlet in Bregaglia, a small and at that time undeveloped Italian-speaking valley in the Swiss canton of Graubünden. His father, Giovanni (1868-1933), was a “Swiss colourist” landscape and portrait painter of some repute; his cousin and neighbour, Augusto Giacometti, was also a prominent artist. His brothers Alberto and Diego were, respectively, six and five years older then him. The Giacometti children grew up with no electricity or running water. Transportation was by stagecoach. The fastest way to Chur, the capital of the region, was by foot over the Septimer, an old Roman pass. If those making the journey did not beat the first snow, they were usually not found until the next spring. http://www.telegraph.co.uk/news/obituaries/9176979/Bruno-Giacometti.html Page 1 of 3 Bruno Giacometti - Telegraph 2012Nov 28 Fri17Sat 08:56 The principal crop of the Bregaglia valley was hay, and the Giacomettis, like other boys in the village, helped to bring in the harvest. In a 1912 painting by Giovanni, the family is depicted clustered around a thick wooden table in the family living room under a low-hanging wrought-iron lamp, reading, drawing, crocheting. -
Stampa-Coltura-Borgonovo Bregaglia Engadin Turismo
Sehenswürdigkeiten 1 Museum Ciäsa Granda & Giacometti-Varlin Saal – F7 2 Atelier Giovanni e Alberto Giacometti – F7 3 Geburtshaus von Giovanni Giacometti – F7 Bregaglia Engadin Turismo 4 Geburtshaus von Augusto und Strada Principale 101 T +41 81 822 15 55 [email protected] Zaccaria Giacometti – F8 CH-7605 Stampa F +41 81 822 16 44 www.bregaglia.ch 5 Stampa-Coltura-Borgonovo Wohnhaus der Familie von Giovanni Giacometti – G7 6 Sitz des Centro Giacometti – F7 A B C D E F G H I J K L M N O P 7 Schulhaus (1962), Arch. Bruno Giacometti – F6 8 Palazzo Castelmur (nördlicher Teil 1 2 8 aus dem Jahr 1723, südlicher Teil zwischen 1850 und 1854 erbaut) 1 mit Historischem Archiv des Tals, Cagoz Garten und Rimessa – A8 9 Reformierte Kirche S. Pietro mit Friedhof, Werk “Am Morgen der Auferstehung” von Augusto Giacometti – A7 Vicosoprano Mulina 10 Felsbrocken zum klettern – A7 Passo del Maloja, 11 Brücke über die Maira – A9 2 Silvaplana, St. Moritz Maira 12 Das Wannengrab – C9 13 Geburtshaus von Alberto und Diego Giacometti – N3 Creista 14 Reformierte Kirche S. Giorgio Sarun mit Friedhof, Glasfenster von Augusto Giacometti, Gräber der Via Bregaglia: Familie Giacometti und der Duegn Cudin, Vicosoprano Künstlerin Elvezia Michel 3 (1887-1963) – L4 15 I Runch 15 Haus der Künstlerin Elvezia Michel 13 – N3 16 Stampa 16 Haus Baldini, im Jahr 1666 erbaut Aua Marcia Via Bregaglia: Coltura Borgonovo – M3 Gewerbe 4 Vorca Cazett 1 Tankstelle – I5 2 Tankstelle und Garage – C9 14 Hotels, Restaurants und Duegnett Clüs Chiesa di San Giorgio Wohnmobilstellplätze Survich -
Di Augusto Giacometti – A7 Reformierte Kirche S
Bregaglia Engadin Turismo Strada Principale 101 T +41 81 822 15 55 [email protected] CH-7605 Stampa F +41 81 822 16 44 www.bregaglia.ch Stampa-Coltura-Borgonovo Punti di interesse A B C D E F G H I J K L M N O P Sehenswürdigkeiten 1 Museo Ciäsa Granda & Sala Giacometti-Varlin – F7 Museum Ciäsa Granda & Giacometti-Varlin Saal 2 Atelier Giovanni e Alberto Giacometti – F7 1 2 8 3 Casa natia di Giovanni Giacometti – F7 Geburtshaus von Giovanni Giacometti 1 Cagoz 4 Casa natia di Augusto e Zaccaria Giacometti – F8 Geburtshaus von Augusto und Zaccaria Giacometti 5 Casa di abitazione della famiglia di Giovanni Giacometti – G7 Wohnhaus der Familie von Giovanni Giacometti 6 Sede del Centro Giacometti – F7 Vicosoprano Sitz des Centro Giacometti Mulina 7 Edificio scolastico (1962), arch. Bruno Giacometti – F6 Schulhaus (1962), Arch. Bruno Giacometti Passo del Maloja, Silvaplana, St. Moritz 8 Palazzo Castelmur (tratto nord del 1723, tratto sud del 2 1850-1854) con archivio storico, giardino e rimessa – A8 Maira Palazzo Castelmur (nördlicher Teil aus dem Jahr 1723, südlicher Teil zwischen 1850 und 1854 erbaut) mit Historischem Archiv des Tals, Garten und Rimessa 9 Chiesa riformata San Pietro con cimitero, opera “Il mattino della Resurrezione” di Augusto Giacometti – A7 Reformierte Kirche S. Pietro mit Friedhof, Werk “Am Morgen der Auferstehung” von Augusto Giacometti Creista Sarun 10 Boulder Park (grossi massi da scalare) – A7 Felsbrocken zum klettern Via Bregaglia: Cudin, Vicosoprano 11 Ponte sulla Maira – A9 3 Duegn Brücke über die Maira 15 12 Masso avello – C9 I Runch Das Wannengrab 13 Stampa 13 Casa natia di Alberto e di Diego Giacometti – N3 16 Geburtshaus von Alberto und Diego Giacometti Via Bregaglia: Coltura 14 Chiesa riformata San Giorgio con cimitero, Aua Marcia Borgonovo vetrata di Augusto Giacometti, tombe dei Giacometti e di Elvezia Michel (1887-1963) – L4 Reformierte Kirche S. -
Kunsthaus Zürich
PRESS RELEASE ǀ 22 AUGUST 2019 ǀ FOR IMMEDIATE RELEASE FROM ANKER TO ZAUGG 150 YEARS OF SWISS ART IN 150 WORKS AUCTION VENUE: KUNSTHAUS ZÜRICH From left to right: Fischli & Weiss, Kerze, 1986, estimate: CHF80,000-120,000 Cuno Amiet, Blühender Baum, 1916, estimate: CHF500,000-600,000 Alberto Giacometti, Lampe coupe aux deux figures, circa 1950, estimate : CHF500,000-700,000 Zürich – Christie’s 37th Swiss Art Auction on 17 September will return to the Kunsthaus Zürich, Grosser Vortragssaal, where the museum’s renovation work has now been completed. In Spring 1994, Christie’s conducted its Swiss Art auction for the first time in this location and we are delighted to be back at the Kunsthaus. The upcoming Swiss Art auction will offer 141 lots, of which 100% have been consigned by private international collectors and 64% of which are offered at auction for the first time. The sale represents the auction debut for the Swiss artist trio Mickry 3, and is led by 20 works from the former collection of Bruno Giacometti, the youngest of the four Giacometti siblings, showcasing works by Alberto, Augusto, Giovanni and Diego Giacometti. CONTEMPORARY SWISS ART The Contemporary Swiss Art section is highlighted by Peter Fischli & David Weiss’s Kerze (1986, estimate: CHF80,000-120,000 – illustrated above left), an early multiple-sculpture by the artists and this example is offered for the first time at auction. Working in a spirit of discovery and play, the duo is world-renowned for their witty juxtapositions and transformations of everyday objects. Kerze stems from a key series in which the artists transmuted domestic items by casting them in black rubber: here, an ornamental candle becomes an enigmatic, unfamiliar presence, alienated from its function and disquietingly fetishised in appearance. -
Alberto Giacometti : [Brochure] the Museum of Modern Art, October 11, 2001-January 8, 2002
Alberto Giacometti : [brochure] the Museum of Modern Art, October 11, 2001-January 8, 2002 Author Giacometti, Alberto, 1901-1966 Date 2001 Publisher The Museum of Modern Art Exhibition URL www.moma.org/calendar/exhibitions/165 The Museum of Modern Art's exhibition history— from our founding in 1929 to the present—is available online. It includes exhibition catalogues, primary documents, installation views, and an index of participating artists. MoMA © 2017 The Museum of Modern Art The Museum of Modern Art f OCTOBER11,2001-JANUARY 8 2002 ' FLOOPRLANS Galleries 1/2 FromStampa to theEarly Years in Paris,1918-27 3 Representationand Abstraction:Port raitHeads, S ummer1927 4 PlaqueSculptures,Signs in Space:The Beginnings of Surrealism,1928-30 5/6 Surrealism,1930-34 7 InSearch of a NewWay of Seeing,1934-45 8/9 PostwarParis,1947-51 10/11 Returningto Painting,1949-65 12 Drawings,1951-64/ Studiesof Diego and Annette:1950-54 13 TheWomen of Veniceand Figures for a PublicProject, 1956and i960 14 TheLastY ears,1962-65 1 LyA\ hoHA ALBERTOGIACOMETTI AlbertoGiacometti has been credited with the invention of "a wholenew tribe of people."Even for thoseonly slightly famil iar with twentieth-centuryart, animage of Giacometti'tribes leapsto mind.It is dominatedby frail, elongated,impossibly slenderrepresentations of figures:st andingwomen and walking menwith kneaded, gouged, and palpably animated surfaces, modeledin clayor plasterand then cast into bronze.First created in thelate 1940s in Giacometti'tiny,s crampedstudio in Paris,a citythen still reelingfrom the devastatingimpact of WorldWar II, thesefigures continue to hauntthe popularimagination when everGiacometti'name s is invoked. Thereare, however, other sides to Giacometti.Chief among themis the youngartist who began making elliptically erotic, essentiallyabstractsculpt uresin thelate 1920s—sculptures that, withina fewshort years, would catapult him to theforefront of the ParisianSurrealist avant-garde. -
The Kunsthaus
2021 EN WELCOME TO THE KUNSTHAUS Open Directions Fri – Sun / Tue 10 a.m. – 6 p.m. From Zurich main station, tram Wed – Thu 10 a.m. – 8 p.m. no. 3 or bus no. 31 to the ‘Kunsthaus’ stop Public holidays 10 a.m. – 6 p.m. 24 / 26 December 2020 Address and information 31 December 2020 Heimplatz 1, 8001 Zurich 1 / 2 January 2021 www.kunsthaus.ch Easter 2 – 5 April 2021 Directorate and administration 1 May 2021 Tel. + 41 (0) 44 253 84 84 Ascension 13 May 2021 [email protected] Whitsun 22 – 24 May 2021 1 August 2021 Collection of Prints and 24 / 26 December 2021 Drawings 31 December 2021 Study room 1 / 2 January 2022 Mon – Fri by appointment Tel. + 41 (0) 44 253 85 36 / 39 Closed Mondays (exceptions see above) Library 25 December 2020 Rämistrasse 45, 8001 Zurich 25 December 2021 Mon – Fri 1 p.m. – 6 p.m. Tel. +41 (0)44 253 85 31 Admission From CHF 16 / CHF 11 Published by concessions and groups. Zürcher Kunstgesellschaft Members and under-17s Postfach, 8024 Zurich free of charge. Print run: 130,000 copies Free entry to the collection on Wednesdays. Subject to change without notice Cover: Gerhard Richter, Townscape PX, 1968 (detail) Wittelsbacher Ausgleichsfonds – Prince Franz of Bavaria Collection, since 1984 in the Bavarian State Picture Galleries, Munich, photo: Blauel/Gnamm/ARTOTHEK, © Gerhard Richter 2021 27.8. – 20.2.22 17.7. – 8.11. 20 THE 2000 SCULPTURE LANDSCAPES – 26.3. – 25.7. Walter De Maria’s PAINTING PLACES GERHARD RICHTER space-filling A spectacular panorama LANDSCAPE installation of landscape painting A comprehensive overview 4.10. -
Readings: War Poetry and Dada
017_War-Poetry_Dada.doc READINGS: WAR POETRY AND DADA Background Various war poems Erich Maria Remarque, All Quiet on the Western Front Background: Eugen Weber, Dada Tzara, Dada Manifesto Tzara, "Lecture on Dada" Interpretations of Duchamp, The Bride Stripped Bare… GROVEART.COM DADAISM Artistic and literary movement launched in Zurich in 1916 but shared by independent groups in New York, Berlin, Paris and elsewhere. The Dadaists channelled their revulsion at World War I into an indictment of the nationalist and materialist values that had brought it about. They were united not by a common style but by a rejection of conventions in art and thought, seeking through their unorthodox techniques, performances and provocations to shock society into self-awareness. The name Dada itself was typical of the movement’s anti- rationalism. Various members of the Zurich group are credited with the invention of the name; according to one account it was selected by the insertion of a knife into a dictionary, and was retained for its multilingual, childish and nonsensical connotations. The Zurich group was formed around the poets hugo Ball, Emmy Hennings, tristan Tzara and richard Huelsenbeck, and the painters hans Arp, marcel Janco and hans Richter. The term was subsequently adopted in New York by the group that had formed around marcel Duchamp, francis Picabia, Marius de Zayas (1880–1961) and Man ray. The largest of several German groups was formed in Berlin by Huelsenbeck with john Heartfield, raoul Hausmann, hannah Höch and george Grosz. As well as important centres elsewhere (Barcelona, Cologne and Hannover), a prominent post-war Parisian group was promoted by Tzara, Picabia and andré Breton.