DOCSLIB.ORG

Alberto Giacometti and the Crisis of the Monument, 1935–45 A

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
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. Giacometti’s crisis moreover coincided with political and social crises in France and Switzerland in the 1930s and 40s. The rhetoric addressing these crises took up the terms of figurative sculpture to describe the destabilization of national self-representation: a loss of face, the inability to form a cohesive image of the body-politic, and the dissolving boundaries of the individual citizen. These metaphorical “figurations of crisis” are refracted in Giacometti’s crisis of figuration through its disruptions of the surface, scale relations, and integrity of figurative sculpture. Tracking these resonances, this dissertation articulates concrete and contextualized terms for the artistic crisis at its center — not as shambolic breakdown, but as a form and experience of substance attained through processes of destruction. iii The dissertation of Joanna Marie Fiduccia is approved. Megan Luke Miwon Kwon Debora L Silverman George Thomas Baker, Committee Chair University of California, Los Angeles 2017 iv CONTENTS Abstract ii List of Figures vi Acknowledgments xiv Vita xvii Introduction 1 Chapter 1: Face and Facet 38 Chapter 2: Mountain and Miniature 124 Chapter 3: Body and Boundary 186 Conclusion 259 Figures 267 Bibliography 425 v LIST OF FIGURES Fig. 0.1 René Burri, Alberto Giacometti, 1960 Fig. 0.2 Brassaï, L’Atelier d’Alberto Giacometti (Alberto Giacometti’s Studio), 1947 Fig. 0.3 Jacques Ernest Bulloz, Vue d’ensemble de Pavillon de l’Alma à Meudon (View of the Alma Pavilion at Meudon), 1904–05 Fig. 0.4 Alberto Giacometti, L’Homme qui marche II (Walking Man II), 1959–60 Fig. 0.5 Alberto Giacometti, Pointe à l’oeil (Point to the Eye), 1931–32 Fig. 0.6 Alberto Giacometti, Tête de Diego (Head of Diego), c. 1937 Fig. 0.7 Alberto Giacometti, Petite figurine sur socle (Small Figurine on a Base), c. 1939–45 Fig. 0.8 Brassaï, L’Objet invisible eclaboussé par plâtre dans l’atelier de Giacometti (The Invisible Object Splattered with Plaster in Giacometti’s Studio), 1947 Fig. 0.9 Ernst Scheidegger, Alberto Giacometti’s Desk in his Studio, 1958 Fig. 0.10 Alberto Giacometti, Femme [Plat, II] (Woman [Flat II]), c. 1928–29 Fig. 0.11 Alberto Giacometti, Boule suspendue (Suspended Ball), 1930 Fig. 0.12 Pablo Picasso, Nude Standing by the Sea, 1929 Fig. 0.13 Alberto Giacometti, “Où va la peinture?” (Where is painting headed?), Commune, 1935 Fig. 0.14 Alberto Giacometti, Attélés ou chaumeurs, c. 1932 Fig. 0.15 Man Ray, Gift, 1921 Fig. 0.16 Meret Oppenheim, Objet (Déjeuner en fourrure) (Object (Fur Breakfast)), 1936 Fig. 1.1 Alberto Giacometti, Tête qui regarde (Gazing Head), 1929 Fig. 1.2 Alberto Giacometti, Cube, 1934 Fig. 1.3 Erna Lendvai-Dircksen, Das deutsche Volksgesicht (The Face of the German People), 1932 Fig. 1.4 August Sander, “The Art Scholar,” from Antlizer der Zeit (Face of Our Time), 1929 Fig. 1.5 Alberto Giacometti, Tête de Rita (Head of Rita), before August 1936 Fig. 1.6 Alberto Giacometti, Tête de Diego (Head of Diego), c. 1914 vi Fig. 1.7 Alberto Giacometti, Tête de femme (Rita) (Head of a Woman (Rita)), 1935 Fig. 1.8 Alberto Giacometti, Masque de femme (Rita) (Mask of a Woman (Rita)), c. 1935–38 Fig. 1.9 Alberto Giacometti, Tête de Rita (Head of Rita), c. 1936 Fig. 1.10 Alberto Giacometti, Petite tête de Diego (Small Head of Diego), 1936 Fig. 1.11 Henri Matisse, Jeannette I, 1910 Fig. 1.12 Alberto Giacometti, Paysage Tête-couchée/Tête tombée dans une graphique (Head Landscape/Head Fallen into a Diagram), 1932 Fig. 1.13 Alberto Giacometti, Projet pour un passage (Project for a Passageway), 1931 Fig. 1.14 Alberto Giacometti, Femme qui marche II (Walking Woman II), 1936 Fig. 1.15 Alberto Giacometti, Tête de Diego (Head of Diego), c. 1937 Fig. 1.16 Alberto Giacometti, Tête de Maria (Head of Maria), c. 1935–36 Fig. 1.17 Alberto Giacometti, Tête de Bruno (Head of Bruno), 1930 Fig. 1.18 Alberto Giacometti, Tête du père (Head of the Artist’s Father), 1927 Fig. 1.19 Alberto Giacometti, Tête du père (Head of the Artist’s Father), 1927 Fig. 1.20 Alberto Giacometti, Autoportrait (Self-Portrait), 1925 Fig. 1.21 Alberto Giacometti, Le Couple (The Couple), 1927 Fig. 1.22 Alberto Giacometti, Tête de mère (Plat) (Head of the Artist’s Mother (Flat)), 1927 Fig. 1.23 Alberto Giacometti, Tête de Josef Müller (Head of Josef Müller), 1927 Fig. 1.24 Michel Leiris and Alberto Giacometti (?), Tête qui regarde 1929 (collage) Fig. 1.25 Auguste Rodin, Balzac, Tête monumentale (Balzac, Monumental Head), 1898 Fig. 1.26 Upright female figure, Baule, Ivory Coast, Fig. 1.27 “Le Secret de la guérison du franc…,” L’Espoir français, 14 January 1938 Fig. 1.28 Abraham Bosse, Leviathan Frontispiece, 1651 Fig. 1.29 Display of facial profiles, 1928 Rassenkunde Exhibition Fig. 1.30 Musée de l’homme, Senegal display, 1942 Fig. 1.31 Marc Vaux, Femme, [Alberto Giacometti (Woman, Alberto Giacometti)], c. 1928 vii Fig. 1.32 René Magritte, Le Viol (The Rape), 1934 Fig. 1.33 Salvador Dalí, “Communication: Visage paranoïaque” (Message: Paranoiac Face), 1931 Fig. 1.34 Salvador Dalí, Le Phenomène de l’extase (The Phenomenon of Ecstasy), 1933 Fig. 1.35 Pierre Mabille, La Construction de l’homme, 1936 Fig. 1.36 Albrecht Dürer, Melencolia I, 1514 Fig. 1.37 Alberto Giacometti, Surrealist Table, 1933 Fig. 1.38 Alberto Giacometti, Studio [for the Countess Visconti], 1932 Fig. 1.39 Alberto Giacometti, [Figure dans un polyhèdre (Figure in a Polyhedron)], c. 1933–34 Fig. 1.40 Alberto Giacometti, Tête du Père (Ronde II) (Head of Father (Round II)), c. 1927–30 Fig. 1.41 Alberto Giacometti, Tête du père (Plat I) (Head of father, Flat I), c. 1927 - 1930 Fig. 1.42 Alberto Giacometti, Tête cubiste (Cubist Head), 1933 Fig. 1.43 Alberto Giacometti, Head-Skull (Cubist Head) [Tête crâne (Tête cubiste)], 1934 Fig. 1.44 Marc Vaux, [Tête (Head), Alberto Giacometti], c. 1934 (destroyed) Fig. 1.45 Alberto Giacometti, Head-Skull (Cubist Head) [Tête crâne (Tête cubiste)], 1934, rotated Fig. 1.46 Marc Vaux, Vase, Alberto Giacometti, c. 1934 (destroyed) Fig. 1.47 Arthur Jackson Hepworth, Studio of Alberto Giacometti, c. February 1935 Fig. 1.48 Alberto Giacometti, Tête sur un tige (Head on a Rod), 1947 Fig. 1.49 Liver of Piacenza Fig. 1.50 La Difesa della Razza, August 5, 1936 Fig. 1.51 Pablo Picasso, Self-Portrait with a Palette, 1906 Fig. 1.52 Pablo Picasso, Gertrude Stein, 1905–06 Fig. 1.53 Alberto Giacometti, Tête de Rita (Head of Rita), c. 1937–38 Fig. 1.54 Alberto Giacometti, Tête de Diego (Head of Diego), c. 1937 Fig. 1.55 Alberto Giacometti, Tête d’une femme (Rita) (Head of a Woman (Rita)), c. 1938 Fig. 1.56 Alberto Giacometti, Tête d’Isabel (Head of Isabel), c. 1938–39 viii Fig. 1.57 Francis Galton, Composite Portraits Fig. 1.58 Marc Vaux, Alberto Giacometti, Bust of a Man (Destroyed), 1939 Fig. 2.1 Alberto Giacometti, Draft of a letter to Bruno Giacometti, 1939 Fig. 2.2 Alberto Giacometti, Petit figurine sur double socle (Small Figurine on a Double Base), c. 1939–45 Fig. 2.3 Aerial plan of the “Landi” Fig. 2.4 Louis Beringer, Ticinese Grotto, Zurich, 1939 Fig. 2.5 Michael Wolgensinger, “Schifflibach” in the Iron Works Exhibition Hall, 1939 Fig. 2.6 Anonymous, Demonstration of workers at the Maggi factory, 1939 Fig. 2.7 Karl Egender, Design of “Kleider Machen Leute” (Clothes Make the Man), 1939 Fig. 2.8 H. Finsler, Bally Shoes in the “Kleider Machen Leute” Pavilion, 1939 Fig. 2.9 Display of Hats in the “Kleider Machen Leute” Pavilion, 1939 Fig. 2.10 R. Spreng, The “Textilhalle” of the “Kleider Machen Leute” Pavilion, 1939 Fig. 2.11 Raoul Ubac and Man Ray, Installation view of the “International Exhibition of Surrealism,” Paris, January 17 – February 28, 1938, 1938 Fig. 2.12 R. Spreng, “Modetheater” of the “Kleider Machen Leute” Pavilion, Zurich, 1939 Fig. 2.13 Louis Beringer, “Kleider Machen Leute” Pavilion, Zurich, 1939 Fig.
Load more

Recommended publications
  • Diego Giacometti 1901-1985
    Diego Giacometti 1901-1985 La promenade des amis Tapis en laine, édition à 100 exemplaire, 1984 Dimensions : 240 x 175 cm Dimensions : 94.49 x 68.90 inch 32 avenue Marceau 75008 Paris | +33 (0)1 42 61 42 10 | +33 (0)6 07 88 75 84 | [email protected] | galeriearyjan.com Diego Giacometti 1901-1985 Biography Young brother of Alberto Giacometti, Diego grew up in Stampa in the family farm where his father Giovanni Giacometti - Swiss post-impressionist and Fauvism painter - used to make their daily furniture. By the way, the father introduced the young boy to art. From a solitary nature, Diego shared his childhood with animals in the village and the farm. This privileged relation with animals will always guide him during his artistic life. Diego Giacometti was resistant to studies and preferred to pose for his eldest brother instead of going to school. After mediocre studies, he lived a travelling life from 1919. He especially travelled to Egypt where the symbolism of the cat left its mark on his future works. In 1925, he settled in Paris and joined his brother Alberto who was studied sculpture with Antoine Bourdelle. The first years were especially difficult for Diego who only found sporadic jobs in factories or offices. In 1927, Alberto found a little sculptor's studio. From then on, Diego will constantly be his co-worker. Beyond his exceptional savoir-faire and his indisputable manual dexterity he also brought some ideas. He assisted his brother by creating some bases and display stands for his sculptures. This is how he turned almost naturally to furniture's making.
    [Show full text]
  • L'été Giacometti À La Fondation Maeght by Michel Gathier
    www.smartymagazine.com L'été Giacometti à la Fondation Maeght by Michel Gathier >> SAINT-PAUL-DE-VENCE Toujours chez Alberto Giacometti revient ce fil incandescent de la sculpture comme si celle-ci, de ses mains, se réconciliait avec son point d'origine, délivrée de sa matière, réduite à la seule vérité du nerf qui l'organise et lui donne vie. Alberto Giacometti est à la fois celui qui parle de l'origine et qui trace un autre chemin. « L'homme qui marche » est pétri de cendre et, tel le chien ou le chat de ses sculptures, il renifle des miettes de lumière pour continuer à vivre. La lumière, ce fut son père Giovanni qui, dans la peinture, la célébra. Né en 1868, il inaugura une lignée familiale d'artistes qui durant plus d'un siècle perpétua cette croyance en l'art, cette volonté folle de découvrir la vérité du monde. La Fondation Maeght nous raconte aujourd'hui cette histoire-là qui est celle du feu et de la cendre, celle des braises qui nourrissent de nouvelles flammes pour croire en la vie. Cette aventure s'incarne dans cette famille qui, dans la peinture, la sculpture, la décoration ou l’architecture, embrassa le monde de sa passion créatrice. Giovanni eut trois fils. Alberto, l'aîné, rayonne encore du bronze de ses sculptures émaciées et son œuvre s'expose aujourd'hui à Saint Paul de Vence comme au Forum Grimaldi de Monaco. Entre l'ombre et la lumière, le plein et le vide, il nous place au cœur de l'acte créateur – celui que Nietzsche évoquait dans « La naissance de la tragédie » : l'opposition fondamentale entre le principe apollinien lié à la lumière et au feu et le principe dionysiaque sous les auspices de l'obscurité et de l'effacement.
    [Show full text]
  • Alberto Giacometti: a Biography Sylvie Felber
    Alberto Giacometti: A Biography Sylvie Felber Alberto Giacometti is born on October 10, 1901, in the village of Borgonovo near Stampa, in the valley of Bregaglia, Switzerland. He is the eldest of four children in a family with an artistic background. His mother, Annetta Stampa, comes from a local landed family, and his father, Giovanni Giacometti, is one of the leading exponents of Swiss Post-Impressionist painting. The well-known Swiss painter Cuno Amiet becomes his godfather. In this milieu, Giacometti’s interest in art is nurtured from an early age: in 1915 he completes his first oil painting, in his father’s studio, and just a year later he models portrait busts of his brothers.1 Giacometti soon realizes that he wants to become an artist. In 1919 he leaves his Protestant boarding school in Schiers, near Chur, and moves to Geneva to study fine art. In 1922 he goes to Paris, then the center of the art world, where he studies life drawing, as well as sculpture under Antoine Bourdelle, at the renowned Académie de la Grande Chaumière. He also pays frequent visits to the Louvre to sketch. In 1925 Giacometti has his first exhibition, at the Salon des Tuileries, with two works: a torso and a head of his brother Diego. In the same year, Diego follows his elder brother to Paris. He will model for Alberto for the rest of his life, and from 1929 on also acts as his assistant. In December 1926, Giacometti moves into a new studio at 46, rue Hippolyte-Maindron. The studio is cramped and humble, but he will work there to the last.
    [Show full text]
  • Eduardo Paolozzi's Psychological Atlas*
    Eduardo Paolozzi’s Psychological Atlas* JOHN-PAUL STONARD Eduardo Paolozzi compiled his collage book Psychological Atlas while living in Paris in 1949 and discovering, as he put it, the “relics of the prewar Dada and Surrealist movement.” Preserved as an archival item, Psychological Atlas is rarely seen; in a poor physical condition, it is kept together by yellowing scotch tape and desiccated glue. Its appearance approximates Paolozzi’s own definition of the modern relic as something “fortuitous and ephemeral, somewhat dusty, pathetic, and absurd, like the votive crutches and other macabre objects that the beneficia - ries of miraculous cures have left in a shrine like that of Lourdes.” 1 Psychological Atlas is clearly a homage to the remnants of Surrealism, made as Paolozzi was meeting such figures as Tristan Tzara and Alberto Giacometti, with the knowledge that the movement was drawing its last collective breath. 2 The psychology Paolozzi surveys in his collage book is that of popular imagery: robots, animals, landscapes, bodybuilders, politicians, ethnographic images, industrial architecture, film stars, and the whole assortment of sensa - tional or exotic material to be found in illustrated newspapers, from the Arbeiter Illustrierte Zeitung to Life magazine. A number of montages evoke Surrealist ethnographic assemblages, but the tone is modified by the inclusion of a collaged television set on the opening page and a color image of an American city a few pages further on. Scenarios created by cut-out figures past - ed onto strange settings evoke scenes of contemporary life, using familiar methods of Surrealist disjunction. Other tableaux are more bewildering, show - * This essay is derived from a paper given at the Contemporary Art Workshop at the University of Chicago, February 2010.
    [Show full text]
  • Moments in Time: Lithographs from the HWS Art Collection
    IN TIME LITHOGRAPHS FROM THE HWS ART COLLECTION PATRICIA MATHEWS KATHRYN VAUGHN ESSAYS BY: SARA GREENLEAF TIMOTHY STARR ‘08 DIANA HAYDOCK ‘09 ANNA WAGER ‘09 BARRY SAMAHA ‘10 EMILY SAROKIN ‘10 GRAPHIC DESIGN BY: ANNE WAKEMAN ‘09 PHOTOGRAPHY BY: LAUREN LONG HOBART & WILLIAM SMITH COLLEGES 2009 MOMENTS IN TIME: LITHOGRAPHS FROM THE HWS ART COLLECTION HIS EXHIBITION IS THE FIRST IN A SERIES INTENDED TO HIGHLIGHT THE HOBART AND WILLIAM SMITH COLLEGES ART COLLECTION. THE ART COLLECTION OF HOBART TAND WILLIAM SMITH COLLEGES IS FOUNDED ON THE BELIEF THAT THE STUDY AND APPRECIATION OF ORIGINAL WORKS OF ART IS AN INDISPENSABLE PART OF A LIBERAL ARTS EDUCATION. IN LIGHT OF THIS EDUCATIONAL MISSION, WE OFFERED AN INTERNSHIP FOR ONE-HALF CREDIT TO STUDENTS OF HIGH STANDING TO RESEARCH AND WRITE THE CATALOGUE ENTRIES, UNDER OUR SUPERVISION, FOR EACH OBJECT IN THE EXHIBITION. THIS GAVE STUDENTS THE OPPORTUNITY TO LEARN MUSEUM PRACTICE AS WELL AS TO ADD A PUBLICATION FOR THEIR RÉSUMÉ. FOR THIS FIRST EXHIBITION, WE HAVE CHOSEN TO HIGHLIGHT SOME OF THE MORE IMPORTANT ARTISTS IN OUR LARGE COLLECTION OF LITHOGRAPHS AS WELL AS TO HIGHLIGHT A PRINT MEDIUM THAT PLAYED AN INFLUENTIAL ROLE IN THE DEVELOPMENT AND DISSEMINATION OF MODERN ART. OUR PRINT COLLECTION IS THE RICHEST AREA OF THE HWS COLLECTION, AND THIS EXHIBITION GIVES US THE OPPORTUNITY TO HIGHLIGHT SOME OF OUR MAJOR CONTRIBUTORS. ROBERT NORTH HAS BEEN ESPECIALLY GENER- OUS. IN THIS SMALL EXHIBITION ALONE, HE HAS DONATED, AMONG OTHERS, WORKS OF THE WELL-KNOWN ARTISTS ROMARE BEARDEN, GEORGE BELLOWS OF WHICH WE HAVE TWELVE, AND THOMAS HART BENTON – THE GREAT REGIONALIST ARTIST AND TEACHER OF JACKSON POLLOCK.
    [Show full text]
  • Art on the Page
    Art on the page Toward a modern illustrated book When Parisian art dealer Ambroise Vollard issued his first publication, Parallèlement, in 1900, a collection of poems by Paul Verlaine illustrated with lithographs by Impressionist painter Pierre Bonnard, he ushered in a new form of illustrated book to mark the new century. In the following decades, he and other entrepreneurial art publishers such as Daniel-Henry Kahnweiler and Albert Skira would take advantage of a widening pool of book collectors interested in modern art by producing deluxe books that featured original prints by artists such as Pablo Picasso, Henri Matisse, Georges Rouault, André Derain and others. These books are generally referred to as livres des artistes and, unlike the fine press publications produced by the Kelmscott Press, the Doves Press or Ashendene Press, the earliest examples were distinguished by their modernity. Breon Mitchell, in his introduction to Beyond illustration, argues that the livre d’artiste can be differentiated from the traditional book in several respects: The illustrations are, in each case, original works of art (woodcuts, lithographs, etchings, engravings) executed by the artist himself and printed under his supervision. The book thus contains original graphics of the kind which find their place on museum walls … The livre d’artiste is also defined by the stature of the artist. Virtually every major painter and sculptor of the twentieth century—Picasso, Braque, Ernst, Matisse, Kokoschka, Barlach, Miró, to name a few—has collaborated in the creation of one or more such works. In many cases, book illustration has occupied such an important place in the total oeuvre of the artist that no student of art history can safely ignore it.
    [Show full text]
  • Contested Hegemony the Great War and the Afro-Asian Assault on The
    Contested Hegemony: The Great War and the Afro-Asian Assault on the Civilizing Mission Ideology Author(s): Michael Adas Source: Journal of World History , Mar., 2004, Vol. 15, No. 1 (Mar., 2004), pp. 31-63 Published by: University of Hawai'i Press on behalf of World History Association Stable URL: http://www.jstor.com/stable/20079260 JSTOR is a not-for-profit service that helps scholars, researchers, and students discover, use, and build upon a wide range of content in a trusted digital archive. We use information technology and tools to increase productivity and facilitate new forms of scholarship. For more information about JSTOR, please contact [email protected]. Your use of the JSTOR archive indicates your acceptance of the Terms & Conditions of Use, available at https://about.jstor.org/terms University of Hawai'i Press and World History Association are collaborating with JSTOR to digitize, preserve and extend access to Journal of World History This content downloaded from 130.56.64.101 on Fri, 11 Sep 2020 01:39:01 UTC All use subject to https://about.jstor.org/terms Contested Hegemony: The Great War and the Afro-Asian Assault on the Civilizing Mission Ideology MICHAEL ADAS Rutgers University The civilizing which late nineteenth mission century has Europeans been traditionallyrationalized their colo seen as an ideology by nial domination of the rest of humankind. Formulations of this ideol ogy varied widely from those of thinkers or colonial administrators who stressed the internal pacification and political order that European col onization extended to "barbaric" and "savage" peoples suffering from incessant warfare and despotic rule, to those of missionaries and reform ers who saw religious conversion and education as the keys to European efforts to "uplift" ignorant and backward peoples.
    [Show full text]
  • 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,
    [Show full text]
  • French Catholicism's First World War
    University of Pennsylvania ScholarlyCommons Publicly Accessible Penn Dissertations 2016 Calvary Or Catastrophe? French Catholicism's First World War Arabella Leonie Hobbs University of Pennsylvania, [email protected] Follow this and additional works at: https://repository.upenn.edu/edissertations Part of the European History Commons, Other Languages, Societies, and Cultures Commons, and the Religion Commons Recommended Citation Hobbs, Arabella Leonie, "Calvary Or Catastrophe? French Catholicism's First World War" (2016). Publicly Accessible Penn Dissertations. 2341. https://repository.upenn.edu/edissertations/2341 This paper is posted at ScholarlyCommons. https://repository.upenn.edu/edissertations/2341 For more information, please contact [email protected]. Calvary Or Catastrophe? French Catholicism's First World War Abstract CALVARY OR CATASTROPHE? FRENCH CATHOLICISM’S FIRST WORLD WAR Arabella L. Hobbs Professor Gerald Prince The battlefield crucifixes that lined the Western Front powerfully connected industrialized warfare with the Christian past. This elision of the bloody corporeality of the crucifixion with the bodily suffering wrought by industrial warfare forged a connection between religious belief and modern reality that lies at the heart of my dissertation. Through the poignancy of Christ’s suffering, French Catholics found an explanatory tool for the devastation of the Great War, affirming that the blood of ther F ench dead would soon blossom in rich harvest. This dissertation argues that the story of French Catholicism and the Great War uncovers a complex and often dissonant understanding of the conflict that has become obscured in the uniform narrative of disillusionment and vain sacrifice ot emerge in the last century. Considering the thought to emerge from the French renouveau catholique from 1910 up to 1920, I argue that far from symbolizing the modernist era of nihilism, the war in fact created meaning in a world that had lost touch with its God.
    [Show full text]
  • 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.
    [Show full text]
  • Press Kit Lausanne, 15
    Page 1 of 9 Press kit Lausanne, 15. October 2020 Giovanni Giacometti. Watercolors (16.10.2020 — 17.1.2021) Giovanni Giacometti Watercolors (16.10.2020 — 17.1.2021) Contents 1. Press release 2. Media images 3. Artist’s biography 4. Questions for the exhibition curators 5. Public engagement – Public outreach services 6. Museum services: Book- and Giftshop and Le Nabi Café-restaurant 7. MCBA partners and sponsors Contact Florence Dizdari Press coordinator 079 232 40 06 [email protected] Page 2 of 9 Press kit Lausanne, 15. October 2020 Giovanni Giacometti. Watercolors (16.10.2020 — 17.1.2021) 1. Press release MCBA the Musée cantonal des Beaux-Arts of Lausanne conserves many oil paintings and drawings by Giovanni Giacometti, a major artist from the turn of the 20th century and a faithful friend of one of the institution’s great donors, the Lausanne doctor Henri-Auguste Widmer. By putting on display an exceptional group of watercolors, all of them privately owned and almost all unknown outside their home, MCBA is inviting us to discover a lesser known side of Giovanni Giacometti’s remarkable body of work. Giovanni Giacometti (Stampa, 1868 – Glion, 1933) practiced watercolor throughout his life. As with his oil paintings, he found most of his subjects in the landscapes of his native region, Val Bregaglia and Engadin in the Canton of Graubünden. Still another source of inspiration were the members of his family going about their daily activities, as were local women and men busy working in the fields or fishing. The artist turned to watercolor for commissioned works as well.
    [Show full text]
  • AC., AC, Bon Sans Coupes +
    Françoise Bridel Accrocs, accrochages Hookings, Hangings et and Codicille Codicil: Working on the Book par François Albera by François Albera Supporter l’image Maintaining the image par Maria Tortajada by Maria Tortajada Translation: Yves Abrioux 1 Collections 1986, acrylique sur papier marouflé, 12 pièces, 90 cm x 150 cm, Deposito Figure, Pesaro 2 Vue d’avion 1980, performance, acrylique sur drap, 340 cm x 600 cm, Fri-Art, Fribourg 3 Les mouchoirs de l’Alhambra 1979, performance, acrylique sur soie, 12 pièces, 25 cm x 35 cm, Genève 4 Flammèches 1980, performance, acrylique sur soie, 10 pièces, 25 cm x 35 cm, Genève 5, 6 Papillons 1980, performance, acrylique sur papier pergamine, 12 pièces, 10 cm x 10 cm, Genève François Albera François Albera Accrocs, accrochages Hooking and Hanging Baudelaire dans «Le peintre de la vie moderne» se réfère In “The Painter of Modern Life”, Baudelaire refers to the anony- à l’anonyme M. G. (Constantin Guys) –«homme des mous M.G. (Constantin Guys) –“ man of crowds ”– , not so much in foules»– moins pour poser les bases de ce qu’on appel- order to lay the foundations of what would later come to be known lera bien plus tard la «peinture moderne» et a fortiori le as “modern painting” nor indeed of modernism as such (which modernisme (qui trouvera son achèvement dans la doc- culminated in the doctrine of “artistic autonomy”), but rather to trine de l’«autonomie de l’art»), que pour définir quelques define a number of tasks incumbent upon the painting of modern, tâches incombant à la peinture de la vie moderne, c’est- i.e.
    [Show full text]