Reciprocal portraits Useful information Hodler, Segantini, Giacometti and Amiet Palais Lumière Evian (quai Charles-Albert Besson). painted self-portraits, a classic subject in Open daily 10am-6pm (Monday, Tuesday 2pm-6pm) and bank holidays. art. They also produced a collection of Open Tuesday morning during half-term. mirror portraits depicting each other. Tel: +33 (0)4 50 83 15 90 / www.ville-evian.fr These reciprocal portraits enabled them to pay tribute to the master e.g. Scientific curator & scenography: Corsin Vogel, an artist from the Grisons, associate profes- Giacometti or Amiet depicting Segantini sor at the Ecole Nationale Supérieure Louis-Lumière, Saint-Denis. or Hodler respectively on their death Curator: William Saadé, honorary head curator for heritage, artistic advisor for the Palais Lumière. beds. They also reflect the bond between two close artists: Giacometti and Amiet painted each other in their little Paris Admission - Guided tours for the general public daily at 2.30pm: €4 in addition to admission fee. apartment, Amiet portrayed his friend - Standard: €8; - Concessions: €6 (for details about discounts, see www. Hodler in front of his own pieces or as a Tickets: ville-evian.fr); - From the exhibition reception. sculpture. Giacometti never tired of - Free for under 16s; - On: ville-evian.tickeasy.com. - 30% off admission to exhibitions on presentation of a painting and drawing his family, espe- - From the FNAC network and on www.fnac.com. ticket for the Pierre Gianadda Foundation in Martigny; - From CGN outlets (boats and ticket offices). cially Alberto. Amiet did the same with Hannes & Corsin Vogel : Den See sehen (See the lake), 2013 © Private collection. his godson Alberto.

later by Wanner. The exhibition pays tri- to melt in the sunshine. The voice of the Segantini and the 1900 Universal bute to Segantini’s project with an artist’s granddaughter, Diana Segantini, Exposition immersive installation: the circular space echoes through the room. Segantini’s Cuno Amiet: Portrait of Alberto Giacometti, 1910 Segantini designed a circular building for brings to mind both the Parisian project last words were: “Voglio vedere le mie © Succession Alberto Giacometti (Fondation the 1900 Universal Exposition in Paris to and the hut. A delicate white concrete montagne“ (I want to see my moun- Giacometti, Paris + ADAGP, Paris) 2021. display a triptych installation of Engadin: snowman, by Dominik Zehnder, seems tains). Life, Nature, Death and pieces by Giacometti, Amiet and Hodler. The pro- ject was turned down but he worked on it until his death in the hut where he painted on the Schafberg in 1899. This hut was immortalised by Steiner and (détail), 1926 © Stiftung für Kunst, Kultur und Geschichte, Winterthur. Winterthur. für Kunst, Kultur und Geschichte, (détail), 1926 © Stiftung

Giovanni Segantini: Back from the forest, 1890 © Segantini-Museum, Saint-Moritz.

Wintersonne bei Maloja Wintersonne Coming soon At the Palais Lumière At the Pierre Gianadda Foundation Kurt Sigrist: in Martigny Joseph Beuys: La Rivoluzione Schlittenzeichen Sled Signs, • 26 June 2021 – 2 January 2022 siamo noi - maloja, 1970 1979/2011 Alain le Foll, master of the imaginary, • 14 December 2020 – 13 June 2021 © Private collection. © Private collection, Bregaglia. sponsored by the BNF. Michel Darbellay, photographer. Giacometti, Giovanni The Grisons area has long been a Segantini, the painter – Garbald, Giacometti and Amiet: Alberto Giacometti, the haven and a source of inspiration for the photographer watercolours and graphic work son many artists. These landscapes spar- Giovanni Segantini left Italy and moved Giovanni Giacometti spent his entire life Alberto Giacometti began ked the imaginations of a cluster of to the Grisons in 1886. When he was 28, exploring different techniques: oil, water- copying masterpieces from artists brought together by the he began painting the surrounding colour, drawing, engraving, lithography... his father’s art books at a region’s very own Giovanni Giacometti mountains and climbing up them to set Watercolour allowed him to quickly and very early age. th in the late 19 century. up his easel. The lights at the top of the spontaneously recreate the diverse His godfather Cuno Amiet’s mountain fuelled him to set his divisio- Engadin landscapes. He often returned Giacometti wove artistic bonds and influence is clear to see in nist technique in stone, inspired by to the same places at different times. He friendships with Giovanni Segantini, who the first paintings he did in Georges Seurat’s pointillism. In 1894 captured the variety of atmospheres, painted in the same area, as well as Cuno the Bregaglia Valley and Segantini moved to the village of Maloja lights and colours. From 1901, he painted Amiet and Ferdinand Hodler, whose dis- Capolago, near Maloja. He at an altitude of 1800m. in Capolago on the banks of the Sils covery of the same landscapes was also painted in oil and waterco- Lake. Amiet regularly joined Giovanni a major factor in their stylistic develop- This is where Segantini met Giovanni lour using his elders’ palette. Giacometti to paint watercolours of the ment and creative rivalry. Giacometti, Giacometti, his pupil and friend with Hodler was an influence landscapes around Sils. They both saw Amiet and Hodler became the flag-bea- whom he would paint in the mountain. too. He moved to Paris in the technique as the perfect tool to cap- Cuno Amiet: Engadin landscape, 1906, rers for Swiss modern art at the dawn of © Private collection, Bregaglia. 1922 but often returned to th In 1899, the young Bregaglia-born pho- ture the panorama’s radiant beauty the 20 century and embodied the Swiss his homeland of Stampa tographer Andrea Garbald became the where atmospheric changes are palpable painting revival. The exhibition explores which remained a rich valley’s columnist and his glass plates and vibrant. Ferdinand Hodler: Silvaplana Lake, 1907 their mutual bonds and relationship with © Kunstmuseum, Solothurn. source of inspiration. He captured local nature, summits and the area as well as their legacy that lives gradually emancipated people, including the Giacometti family. on through modern and contemporary himself from his elders to Giacometti, Hodler Giovanni Segantini: Alpine landscape with woman art figures: Alberto Giacometti, Andrea at the fountain, vers 1893 © Kunst Museum, explore radically different and the alpine landscapes Winterthur. Garbald, Albert Steiner, Joseph Beuys, sculptures and graphic Rémy Zaugg, Kurt Sigrist, Hannes Vogel, After Segantini’s death in 1899, Giovanni pieces, although he Franz Wanner, Florio Puenter and Giacometti moved away from divisionism returned to the area and his Dominik Zehnder. under the influence of Cuno Amiet and father’s favourite subjects. Ferdinand Hodler who visited him in the Giovanni Giacometti: Snowy landscape (sun), Grisons. He moved towards a less natu- 1910 © Stiftung für Kunst, Kultur und Geschichte, He spent his entire life stri- Winterthur. ralistic and more synthetic style ving to depict them in his with bolder colours between own lively way with his 1900 and 1910. He spent his sharp style and limited dark lifetime striving to capture the palette. Alberto Giacometti: Three Men Walking, 1948 © magic of the light in the high Fondation Marguerite et Aimé Maeght, Saint-Paul mountains. de Vence. Hodler’s time in Engadin was an opportunity for him to lay the foundations for a new crea- tive concept that he called “parallelism”, where he repro- Giovanni Giacometti: duced symmetry in nature. View of Italy from Albert Steiner went onto use Soglio, 1921, © Museo Ciäsa Granda, this technique to shoot the Stampa. Engadin landscapes.