Alberto Giacometti(1901 — 1966)

Alberto Giacometti

Suisse, France

6 min read

Visual ArtsArtiste20th CenturyFirst half and middle of the 20th century, marked by Surrealism, the Second World War and existentialism in postwar Paris.

Swiss sculptor and painter, a major figure in 20th-century art. After a Surrealist period, he developed a unique style of extremely elongated, slimmed-down human figures that became an emblem of the postwar human condition.

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Frequently asked questions

Alberto Giacometti (1901-1966) was a Swiss sculptor and painter, a major figure of the 20th century. The key thing to remember is that he invented a unique style of extremely elongated, attenuated human figures that became the emblem of the post-war human condition. After a Surrealist period, he developed this thread-like aesthetic that questions the perception of space and distance. His iconic work Walking Man (1947) symbolizes the fragility and solitude of modern man.

Famous Quotes

« In the street, people dissolve into the distance like water.»

Key Facts

  • Born in 1901 in Borgonovo, in the Val Bregaglia (Switzerland), into a family of artists
  • Settled in Paris in 1922 and moved in Surrealist circles during the 1930s
  • Developed his characteristic thread-like figures after 1945 (Walking Man)
  • Awarded the Grand Prize for sculpture at the Venice Biennale in 1962
  • Died in 1966 in Chur (Switzerland); his work appeared on the former Swiss 100-franc banknote

Works & Achievements

Suspended Ball (1930-1931)

Surrealist sculpture with a suspended mechanism, deemed provocative and charged with erotic tension. It cemented his reputation among the Surrealists.

The Palace at 4 a.m. (1932)

A fragile construction in wood and wire, like a dreamlike architecture. One of the major works of Surrealism.

Walking Man (1947 then 1960)

A thread-like figure in mid-stride, which became the emblem of Giacometti's art and of the postwar human condition.

Man Pointing (1947)

A large figure extending its arm, one of his most famous sculptures. A bronze cast of this work broke sales records.

The Square (City Square) (1948)

Small figures scattered across a base, evoking the loneliness of passersby in the modern city.

Women of Venice (1956)

A series of hieratic female figures shown at the Venice Biennale. Variations on a single theme, modeled and then cast.

Tall Standing Woman (1960)

A series of monumental, motionless figures intended for a square in New York. A static counterpoint to Walking Man.

Caroline (painted portraits) (1961-1965)

A series of painted portraits with nervous lines, bearing witness to his obsessive quest for likeness.

Anecdotes

Giacometti grew up in the small village of Stampa, in Italian-speaking Switzerland, in a family of artists: his father Giovanni was a respected post-impressionist painter. As a child, Alberto made his first sculpture, a bust of his brother Diego, around the age of 13. Diego would become his assistant and his model for his entire life.

In the 1930s, Giacometti belonged to the Surrealist group around André Breton. But he was expelled from the movement in 1935 because he had gone back to working from a live model, which the Surrealists considered too traditional.

For years, Giacometti was haunted by a strange problem: his sculptures shrank under his fingers until they became tiny, sometimes no bigger than a pinhead. He recounted that at the end of the war, all his figures representing several months of work fit into six matchboxes.

In 1938, Giacometti was knocked down by a car on the Place des Pyramides in Paris and injured his foot, which left him with a limp for the rest of his life. Yet he said he had felt a curious sense of joy, as if something was finally happening to him.

His Paris studio on the Rue Hippolyte-Maindron, which he occupied from 1926 until his death, measured barely more than 20 m². Tiny, dusty and cluttered, he lived and worked there for forty years, refusing to move even when he became famous and wealthy.

Primary Sources

The Dream, the Sphinx and the Death of T. (text by Alberto Giacometti, *Labyrinthe* magazine) (1946)
All my figures stubbornly shrank to a dizzying smallness. A large figure seemed false to me and a small one intolerable, and then often they became so tiny that with one last stroke of the knife they vanished into dust.
Interview with Georges Charbonnier (*The Painter's Monologue*) (1951)
I don't know whether I work in order to make something or to find out why I cannot make what I would like to make. It is in the most exact resemblance that the unknown lies.
Jean-Paul Sartre, “The Quest for the Absolute,” preface to the catalogue of the Giacometti exhibition (Pierre Matisse Gallery, New York) (1948)
Halfway between being and nothingness, his statues reinvent man at a distance. Giacometti knows that space is a cancer of being, eating everything away.
James Lord, *A Giacometti Portrait* (account of the sittings) (1965)
He kept saying it was impossible, that he would never manage to render what he saw, and he would begin the face over and over again, erasing what he had just painted.

Key Places

Stampa / Borgonovo (Val Bregaglia, Switzerland)

Giacometti's native village in an Italian-speaking Alpine valley. He returned there regularly throughout his life to work in the family studio.

Studio on Rue Hippolyte-Maindron, Paris (14th)

A tiny, cluttered studio where he lived and worked from 1926 to 1966. A legendary site of 20th-century art.

Académie de la Grande Chaumière, Paris

An art school in Montparnasse where he studied sculpture under Antoine Bourdelle starting in 1922.

Geneva (Switzerland)

The city where he took refuge during the Second World War, from 1941 to 1945. There he met Annette Arm, his future wife.

Chur (Coire, Switzerland)

A town in the canton of Graubünden where Giacometti died on 11 January 1966. He is buried near Stampa.

See also