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Giacometti Pure Presence Paul Moorhouse

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Giacometti Pure Presence Paul Moorhouse GIACOMETTI PURE PRESENCE PAUL MOORHOUSE One evening in late 1945, Alberto Giacometti emerged from a cinema on the Clockwise from top Boulevard Montparnasse in Paris. The forty-four year old artist had recently returned to Fig. 1 Dollupt atquunt usapid unt ipsapedita sam, quam, quaspidis et est the French capital following a period of almost four years spent living as a virtual exile eaque etur, net ium que eum rempos a in Geneva, while Paris was under German occupation (fig 1). With the war over, he inienit, quo es sandamus nost modit had made his way back and was relieved to find his ramshackle studio on the nearby aut est accum ipsam sin pliatectem qui cum eum idenditia quid esci dit estrunt rue Hippolyte-Maindron unchanged. Throughout Giacometti’s absence, his younger pra et qui volestios utecto eum quidel brother Diego had carefully preserved the studio’s contents. In contrast, Paris had imus est as ex ex est que volum dolorat been profoundly affected by recent events, its artistic and intellectual life shaken to ectiam, sus derchitatem sam, accus. the roots. Even so, that the studio had survived no doubt created an expectation that Fig. 2 Dollupt atquunt usapid unt his life and work could now resume their previous pattern. This, however, was not to ipsapedita sam, quam, quaspidis et est be. As he later recorded, at the moment of stepping into the street he became aware eaque etur, net ium que eum rempos a inienit, quo es sandamus nost modit that ‘Everything was different. Nor was this simply a sense of the altered post-war aut est accum ipsam sin pliatectem qui atmosphere. Rather, he registered ‘a complete change in reality’. His surroundings cum eum idenditia quid esci dit estrunt appeared transformed, ‘marvellous, totally strange, and the boulevard had the beauty pra et qui volestios utecto eum quidel imus est as ex ex est que volum. of the Arabian Nights.’ For an individual given to flashes of sudden epiphany, this singular insight ranks as the most profound he had experienced. He recollected, Fig. 3 Dollupt atquunt usapid unt ‘It was a beginning.’ ipsapedita sam, quam, quaspidis et est eaque etur, net ium que eum rempos a inienit, quo es sandamus nost modit In order to understand the significance of this occurrence it is necessary to place aut est accum ipsam sin pliatectem qui cum eum idenditia quid esci dit estrunt it in the wider context of Giacometti’s personal and artistic development. One of pra et qui volestios utecto eum quidel his earliest works was a bust of Diego, a small head created in 1914 at the age of imus est as ex ex est que volum dolorat thirteen. That remarkably precocious sculpture contains, in essence, the hallmarks of ectiam, sus derchitatem sa. all that would follow. The younger boy’s appearance has migrated into the sculptor’s materials, which it inhabits, conveying an impressive semblance of a living presence. The likeness thus created is, however, not an exact one and Diego’s face is an abstraction. Eschewing slavish imitation, the features are rendered summarily and evocatively, suggesting rather than describing. Even at this incipient stage, the head that confronts us is not a facsimile of appearance but goes further. In everyday life and in our encounters with others, we tend to grasp the unfamiliar immediately and then subsequently modify that initial impression by analysing its constituents. Giacometti’s head of Diego preserves the fresh, unadulterated vitality of a first glimpse (fig 2). Encouraged by this success, the youthful artist turned to other members of his family as subjects for portraits. These included his mother Annetta, his father Giovanni, Ottilia his sister, and his youngest brother Bruno. Landscape and still life motifs also figured in the numerous drawings, watercolours and paintings in oils that he produced. Looking back on such early essays in rendering appearance, Giacometti commented, ‘I had the feeling that there was no obstruction between seeing and doing…it was paradise.’ Indeed, with that initial body of work, Giacometti found and established what would be the central, abiding preoccupation of his art until his death over fifty years later in 1966. In the latter part of his life, Giacometti articulated that driving force with undiminished vigour and precision, ‘To copy exactly, as in 1914, appearance. Exactly the same concern.’ 40 GIACOMETTI • PURE PRESENCE INTRODUCTION 41 Opposite The endeavour to engage with the perceived reality of the external world stands at Fig. 4 Atur si optate seque autem the heart of Giacometti’s entire output. Driven by that aim, and comprising sculpture, volupid es alibearciis ped enimi, in rem inum fugia volorerit quae ererum painting, drawings and prints, his oeuvre went through numerous stylistic changes. It conserit litaspe par chil lorepudae proceeded from a post-Cubist analysis of form in the early 1920s, through a Surrealist acepudi dolora eum res dolumqu phase that ensued at the end of that decade, to his re-engagement with art that untusdae num rest, aut vendit endeliquo maximod igendaer. proceeded from direct observation after the death of his father in 1933. Thereafter, and in particular following his transformative experience on the Boulevard Montparnasse in 1945, Giacometti concentrated on reproducing with absolute fidelity his optical experiences which he characterised simply as ‘what I see.’ During the course of those changes and developments, his subject matter nevertheless remained remarkably steadfast. Even when working from memory and imagination, notably while making the abstracted and fantastical sculptures that established his reputation within the Surrealist group, Giacometti’s ongoing source of inspiration was a human presence. Whether the outcome of observation or recollection, figures and faces are a recurrent, practically continuous theme that carries the insistent force of obsession. This was something that the artist repeatedly acknowledged, noting that ‘The human figure has always interested me above all.’ At the same time, the reasons for that preoccupation were mysterious, even to Giacometti himself. ‘Why do I feel the need, yes, the need, to paint faces? Why am I …how could I put it…almost astonished by people’s faces, and why have I always been? Like an unknown sign, as if there were something to see which at first glance is invisible? Why?’ The depth, intensity and extent of Giacometti’s engagement with the depiction of people have few parallels in twentieth century art. Long after his arrival in Paris in January 1922, he continued to paint his family during summer holidays spent in the family homes in Stampa and Majola, Switzerland. From 1922 onwards he also turned to a range of individuals, family, friends or models with whom he had a close relationship. After joining Giacometti in Paris, Diego became one of his principal sitters. Others who subsequently endured long hours of prolonged scrutiny included Rita, a professional model; Isabel, with whom he had an affair; Annette, who became his wife in 1949; Jean Genet, Isaku Yanaihara and Eli Lotar who were part of Giacometti’s circle in post-war Paris; and, not least, Caroline, a prostitute who became the artist’s final muse. Despite the artist’s own inability to account for his obsession with representing the human form and the appearance of certain individuals, there is no doubt of the artist’s commitment to portraiture (fig 3). That said, the nature of his engagement with portraiture was far from conventional. One of the paradoxes of Giacometti’s art is that, although intimately involved with people as its subject, characterisation, psychology and individual identity are unusually absent. As the artist confirmed, probing the sitter’s inner landscape was not a concern, ‘I have enough trouble with the outside without bothering with the inside’ . Moreover, in working from observation and memory, there was a tendency for the identity of particular models to migrate: ‘when I draw or sculpt or paint a head from memory it always turns out to be more or less Diego’s head, because Diego’s is the head I’ve done most often from life. And women’s heads tend to become Annette’s head for the same reason.’ Thus, while the artist could claim that the reasons for his immersion in portraiture were obscure, an even more pressing question remains regarding its significance. If Giacometti’s portraits are not primarily about the sitters themselves, what do they represent? This question brings us back to Giacometti’s artistic imperative to render the appearance of reality. Throughout the artist’s extensive commentaries on the purpose and nature of his art, this is a recurrent theme and one on which he is explicit. A 42 GIACOMETTI • PURE PRESENCE INTRODUCTION 43 Fig. 2 A close friend of Giacometti, David Thompson spent several years with him at. Fig. 3 A close friend of Giacometti, David Thompson spent several years with him at. Fig. 1 A close friend of Giacometti, Fig. 5 A close friend of Giacometti, Fig. 6 A close friend of Giacometti, David Thompson spent several years David Thompson spent several years David Thompson spent several years with him at. with him at. with him at. Fig. 4 A close friend of Giacometti, David Thompson spent several years CHRONOLOGY with him at. 1901 1911–15 1920 On September 3 he travels from Innsbruck to the remote Alberto Giacometti is born on October 10 in the Alberto begins to send crayon and pencil drawings to At the end of March Alberto spends some ten days with mountain village of Madonna di Campiglio with Pieter mountain hamlet of Borgon ovo, near Stampa in the his godfather, Cuno Amiet, the Fauvist painter and Amiet in Oschwand. In May Giovanni, a member of the van Meurs, a sixty-one- year-old archivist.
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