LaurieAnnie's photos with the keyword: Giacometti

Alberto Giacometti Tall Figure, III 1960 Medium: Bronze Dimensions: 7' 9" x 11 5/8" x 20 5/8" (236.2 x 29.5 x 52.4 cm) Credit: Gift of Nina and Gordon Bunshaft in honor of the artist Object number: 1083.1969 Department: Painting and Sculpture Text from: www.moma.org/collection/works/81960

Alberto Giacometti Tall Figure, III 1960 Medium: Bronze Dimensions: 7' 9" x 11 5/8" x 20 5/8" (236.2 x 29.5 x 52.4 cm) Credit: Gift of Nina and Gordon Bunshaft in honor of the artist Object number: 1083.1969 Department: Painting and Sculpture Text from: www.moma.org/collection/works/81960

Three Men Walking II,1949 Object Details Artist: Alberto Giacometti (Swiss, Borgonovo 1901–1966 Chur) Date: 1949 Medium: Bronze Dimensions: 30 1/8 x 13 x 12 3/4 in. (76.5 x 33 x 32.4 cm) Classification: Sculpture Credit Line: Jacques and Natasha Gelman Collection, 1998 Accession Number: 1999.363.22 Giacometti was born into a Swiss family of artists. His early work was informed by Surrealism and Cubism, but in 1947 he settled into producing the kind of expressionist sculpture for which he is best known. His characteristic figures are extremely thin and attenuated, stretched vertically until they are mere wisps of the human form. Almost without volume or mass (although anchored with swollen, oversize feet), these skeletal forms appear weightless and remote. Their eerie otherworldliness is accentuated by the matte shades of gray and beige paint, sometimes accented with touches of pink or blue, that the artist applied over the brown patina of the metal. The rough, eroded, heavily worked surfaces of "Three Men Walking (II)" typify his technique. Reduced, as they are, to their very core, these figures evoke lone trees in winter that have lost their foliage. Within this style, Giacometti would rarely deviate from the three themes that preoccupied him—the walking man; the standing, nude woman; and the bust—or all three, combined in various groupings. Giacometti's work can be seen to balance the concerns of the modern and the historical as well as the specific and the universal. While many have viewed his sculptures as emblematic of the horrors of World War II or representative of the alienation of modern urban life, his figures also contain specific allusions to ancient Egyptian burial figures and to early Greek korai. At the same time, the fragile figures are universalized, their tentative movements expressive of an essential human condition. In this work, the figures take wide steps, each in a different direction. The empty space around them acts as an obstacle to communication. They stride along, each untouched by another, alienated by the void that surrounds them. Text from: www.metmuseum.org/art/collection/search/489978

Three Men Walking II,1949 Object Details Artist: Alberto Giacometti (Swiss, Borgonovo 1901–1966 Chur) Date: 1949 Medium: Bronze Dimensions: 30 1/8 x 13 x 12 3/4 in. (76.5 x 33 x 32.4 cm) Classification: Sculpture Credit Line: Jacques and Natasha Gelman Collection, 1998 Accession Number: 1999.363.22 Giacometti was born into a Swiss family of artists. His early work was informed by Surrealism and Cubism, but in 1947 he settled into producing the kind of expressionist sculpture for which he is best known. His characteristic figures are extremely thin and attenuated, stretched vertically until they are mere wisps of the human form. Almost without volume or mass (although anchored with swollen, oversize feet), these skeletal forms appear weightless and remote. Their eerie otherworldliness is accentuated by the matte shades of gray and beige paint, sometimes accented with touches of pink or blue, that the artist applied over the brown patina of the metal. The rough, eroded, heavily worked surfaces of "Three Men Walking (II)" typify his technique. Reduced, as they are, to their very core, these figures evoke lone trees in winter that have lost their foliage. Within this style, Giacometti would rarely deviate from the three themes that preoccupied him—the walking man; the standing, nude woman; and the bust—or all three, combined in various groupings. Giacometti's work can be seen to balance the concerns of the modern and the historical as well as the specific and the universal. While many have viewed his sculptures as emblematic of the horrors of World War II or representative of the alienation of modern urban life, his figures also contain specific allusions to ancient Egyptian burial figures and to early Greek korai. At the same time, the fragile figures are universalized, their tentative movements expressive of an essential human condition. In this work, the figures take wide steps, each in a different direction. The empty space around them acts as an obstacle to communication. They stride along, each untouched by another, alienated by the void that surrounds them. Text from: www.metmuseum.org/art/collection/search/489978

Three Men Walking II,1949 Object Details Artist: Alberto Giacometti (Swiss, Borgonovo 1901–1966 Chur) Date: 1949 Medium: Bronze Dimensions: 30 1/8 x 13 x 12 3/4 in. (76.5 x 33 x 32.4 cm) Classification: Sculpture Credit Line: Jacques and Natasha Gelman Collection, 1998 Accession Number: 1999.363.22 Giacometti was born into a Swiss family of artists. His early work was informed by Surrealism and Cubism, but in 1947 he settled into producing the kind of expressionist sculpture for which he is best known. His characteristic figures are extremely thin and attenuated, stretched vertically until they are mere wisps of the human form. Almost without volume or mass (although anchored with swollen, oversize feet), these skeletal forms appear weightless and remote. Their eerie otherworldliness is accentuated by the matte shades of gray and beige paint, sometimes accented with touches of pink or blue, that the artist applied over the brown patina of the metal. The rough, eroded, heavily worked surfaces of "Three Men Walking (II)" typify his technique. Reduced, as they are, to their very core, these figures evoke lone trees in winter that have lost their foliage. Within this style, Giacometti would rarely deviate from the three themes that preoccupied him—the walking man; the standing, nude woman; and the bust—or all three, combined in various groupings. Giacometti's work can be seen to balance the concerns of the modern and the historical as well as the specific and the universal. While many have viewed his sculptures as emblematic of the horrors of World War II or representative of the alienation of modern urban life, his figures also contain specific allusions to ancient Egyptian burial figures and to early Greek korai. At the same time, the fragile figures are universalized, their tentative movements expressive of an essential human condition. In this work, the figures take wide steps, each in a different direction. The empty space around them acts as an obstacle to communication. They stride along, each untouched by another, alienated by the void that surrounds them. Text from: www.metmuseum.org/art/collection/search/489978

Three Men Walking II,1949 Object Details Artist: Alberto Giacometti (Swiss, Borgonovo 1901–1966 Chur) Date: 1949 Medium: Bronze Dimensions: 30 1/8 x 13 x 12 3/4 in. (76.5 x 33 x 32.4 cm) Classification: Sculpture Credit Line: Jacques and Natasha Gelman Collection, 1998 Accession Number: 1999.363.22 Giacometti was born into a Swiss family of artists. His early work was informed by Surrealism and Cubism, but in 1947 he settled into producing the kind of expressionist sculpture for which he is best known. His characteristic figures are extremely thin and attenuated, stretched vertically until they are mere wisps of the human form. Almost without volume or mass (although anchored with swollen, oversize feet), these skeletal forms appear weightless and remote. Their eerie otherworldliness is accentuated by the matte shades of gray and beige paint, sometimes accented with touches of pink or blue, that the artist applied over the brown patina of the metal. The rough, eroded, heavily worked surfaces of "Three Men Walking (II)" typify his technique. Reduced, as they are, to their very core, these figures evoke lone trees in winter that have lost their foliage. Within this style, Giacometti would rarely deviate from the three themes that preoccupied him—the walking man; the standing, nude woman; and the bust—or all three, combined in various groupings. Giacometti's work can be seen to balance the concerns of the modern and the historical as well as the specific and the universal. While many have viewed his sculptures as emblematic of the horrors of World War II or representative of the alienation of modern urban life, his figures also contain specific allusions to ancient Egyptian burial figures and to early Greek korai. At the same time, the fragile figures are universalized, their tentative movements expressive of an essential human condition. In this work, the figures take wide steps, each in a different direction. The empty space around them acts as an obstacle to communication. They stride along, each untouched by another, alienated by the void that surrounds them. Text from: www.metmuseum.org/art/collection/search/489978

Woman of Venice, 1956 Alberto Giacometti (Swiss, 1901–1966) Painted bronze; H. 47 7/8 in. (121.6 cm) Signed and numbered (on the base, at left): Alberto Giacometti 1/6 Jacques and Natasha Gelman Collection, 1998 (1999.363.25) Early in 1956, in preparation for exhibitions of his work at the Venice Biennale and the Kunsthalle in Bern, Giacometti produced a large group of plaster sculptures of female figures. Ten of these were shown in Venice and five in Bern. Of the fifteen, it appears that only nine were later cast in bronze. They became known as the "Women of Venice," regardless of whether the plaster version had been exhibited in Venice or in Bern. The thin, gaunt bronzes are all between forty-one and fifty-two inches high, but they seem much taller. Supported on stiltlike legs held tightly together, the figures stand motionless. All have tiny heads and enormous feet, which anchor their extremely emaciated, concave bodies on plinths of varying thicknesses. The figures look as if they have withstood centuries of rough weather, which has left their surfaces crusty and eroded. This Woman of Venice is the only one of the nine bronzes that was painted. It is a matte beige color. The figure's hair, drawn back severely into a bun, renders the sculpture even more austere, despite the painted blue eyes and red mouth. Text from: www.metmuseum.org/Works_of_Art/recent_acquisitions/1999/c...

Woman of Venice, 1956 Alberto Giacometti (Swiss, 1901–1966) Painted bronze; H. 47 7/8 in. (121.6 cm) Signed and numbered (on the base, at left): Alberto Giacometti 1/6 Jacques and Natasha Gelman Collection, 1998 (1999.363.25) Early in 1956, in preparation for exhibitions of his work at the Venice Biennale and the Kunsthalle in Bern, Giacometti produced a large group of plaster sculptures of female figures. Ten of these were shown in Venice and five in Bern. Of the fifteen, it appears that only nine were later cast in bronze. They became known as the "Women of Venice," regardless of whether the plaster version had been exhibited in Venice or in Bern. The thin, gaunt bronzes are all between forty-one and fifty-two inches high, but they seem much taller. Supported on stiltlike legs held tightly together, the figures stand motionless. All have tiny heads and enormous feet, which anchor their extremely emaciated, concave bodies on plinths of varying thicknesses. The figures look as if they have withstood centuries of rough weather, which has left their surfaces crusty and eroded. This Woman of Venice is the only one of the nine bronzes that was painted. It is a matte beige color. The figure's hair, drawn back severely into a bun, renders the sculpture even more austere, despite the painted blue eyes and red mouth. Text from: www.metmuseum.org/Works_of_Art/recent_acquisitions/1999/c...

Three Men Walking II, 1949 Alberto Giacometti (Swiss, 1901–1966) Bronze; 30 1/8 x 13 x 12 3/4 in. (76.5 x 33 x 32.4 cm) Jacques and Natasha Gelman Collection, 1998 (1999.363.22) A sculptor and a painter, Alberto Giacometti was born into an artistic family in the small village of Borgonovo, north of Stampa, in the most Italian canton of Switzerland. From an early age, Alberto drew, painted, and modeled portrait heads, his brother Diego serving as his first sitter. Although, after 1946, he would devote himself equally to painting and sculpture, until then it was sculpture that took precedence. By 1947, the artist had adopted what was to become his characteristic style, creating extremely thin and attenuated figures of three main themes: the walking man; the standing, nude woman; and the bust, or head—or all three, combined in various groupings. Without volume or mass, the figures appear weightless and remote, their eerie otherworldliness accentuated by the mat shades of gray and beige paint applied to their bronze patinas. Giacometti designed the placement of these three walking men with the precision of a choreographer. Their steps are equally wide, and they do not look at one another. Text from: www.metmuseum.org/toah/ho/11/euwcm/ho_1999.363.22.htm

Alberto Giacometti. (Swiss, 1901-1966). City Square. 1948. Bronze, 8 1/2 x 25 3/8 x 17 1/4" (21.6 x 64.5 x 43.8 cm). Purchase. Text from: www.moma.org/collection/browse_results.php?object_id=81373

Alberto Giacometti. (Swiss, 1901-1966). The Chariot. 1950. Painted bronze on wood base, 57 x 26 x 26 1/8" (144.8 x 65.8 x 66.2 cm), base 9 3/4 x 4 1/2 x 9 1/4" (24.8 x 11.5 x 23.5 cm). Purchase. Gallery label text 2006 Rising above two high wheels recalling those of an Egyptian chariot, a filament–thin woman stands poised in precarious equilibrium, as if perpetually suspended between movement and stasis, advance and retreat. According to the artist, The Chariot was partly inspired by the memory of a "sparkling pharmacy cart" he saw when briefly hospitalized. It was also prompted by his desire to position a figure in empty space "in order to see it better and to situate it at a precise distance from the floor." Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Alberto Giacometti. (Swiss, 1901-1966). The Chariot. 1950. Painted bronze on wood base, 57 x 26 x 26 1/8" (144.8 x 65.8 x 66.2 cm), base 9 3/4 x 4 1/2 x 9 1/4" (24.8 x 11.5 x 23.5 cm). Purchase. Gallery label text 2006 Rising above two high wheels recalling those of an Egyptian chariot, a filament–thin woman stands poised in precarious equilibrium, as if perpetually suspended between movement and stasis, advance and retreat. According to the artist, The Chariot was partly inspired by the memory of a "sparkling pharmacy cart" he saw when briefly hospitalized. It was also prompted by his desire to position a figure in empty space "in order to see it better and to situate it at a precise distance from the floor." Text from: www.moma.org/collection/browse_results.php?object_id=80790

Alberto Giacometti. (Swiss, 1901-1966). The Chariot. 1950. Painted bronze on wood base, 57 x 26 x 26 1/8" (144.8 x 65.8 x 66.2 cm), base 9 3/4 x 4 1/2 x 9 1/4" (24.8 x 11.5 x 23.5 cm). Purchase. Gallery label text 2006 Rising above two high wheels recalling those of an Egyptian chariot, a filament–thin woman stands poised in precarious equilibrium, as if perpetually suspended between movement and stasis, advance and retreat. According to the artist, The Chariot was partly inspired by the memory of a "sparkling pharmacy cart" he saw when briefly hospitalized. It was also prompted by his desire to position a figure in empty space "in order to see it better and to situate it at a precise distance from the floor." Text from: www.moma.org/collection/browse_results.php?criteria=O:AD:...

Alberto Giacometti. (Swiss, 1901-1966). Hands Holding the Void (Invisible Object). 1934 (cast c. 1954-55). Bronze, 59 7/8 x 12 7/8 x 10" (152.1 x 32.6 x 25.3 cm). Louise Reinhardt Smith Bequest. Gallery label text 2006 This highly stylized figure balances on a cagelike throne which, together with the pillory–like board covering her shins, simultaneously supports and restrains her from movement. Her hands, positioned as if holding or offering something, hold nothing, as suggested by the workÂ’s title. Giacometti modeled the figureÂ’s head and face after a protective metal mask. This is GiacomettiÂ’s first large–scale, anatomically complete human figure, and his last major work made within the orbit of Surrealism. Text from: www.moma.org/collection/browse_results.php?object_id=81849