Sobre el lote Lote N° 34
Título : Conceived Circa 1927-29 And Cast In 1961, ÉPOCA : 1927
Talla : measurements height: 14 1/8 in. alternate measurements 35.9 cm Procedencia : Pierre Matisse Gallery, New YorkLucien Brownstone, New YorkPrivate Collection, EuropeJames Mayor Gallery, LondonPrivate Collection (sold: Sotheby's, New York, October 6, 1989, lot 188)Private Collection, New York (acquired at the above sale)The Elkon Gallery, New YorkAcquired from the above in 1993Literature : Palma Bucarelli, Giacometti, Rome, 1962, the plaster cast listedMichael F. Brenson, The Early Works of Alberto Giacometti 1925-35, Baltimore, 1974, the plaster cast listed p. 43Alberto Giacometti (exhibition catalogue), Museo Nacional Centro de Arte Reina Sofia, Madrid, 1990-91, illustration of another cast in color p. 377Alberto Giacometti: Sculptures, Peintures, Dessins (exhibition catalogue), Musée d'Art Moderne de la Ville de Paris, 1991-92, no. 39, illustration of another cast p. 125L'Atelier d'Alberto Giacometti, Collection de la Fondation Alberto et Annette Giacometti (exhibition catalogue), Centre national d'art et de culture Georges Pompidou, Paris, 2007, no. 273, illustrated in color p. 165Notas : The authenticity of this work has been confirmed by the Comité Giacometti, working under the authority of the artist's moral right, and will be published in their forthcoming catalogue raisonné.The authenticity of this work has also been confirmed by Mary Lisa Palmer.PROPERTY FROM THE RAYMOND AND PATSY NASHER COLLECTIONGiacometti created several sculptures in the late 1920s that reduced the human form to a combination of simple shapes and lines (see fig. 1). All of these works demonstrate a rigorous economy of line and a purity of form expressed at no other time in his career. He described at one point the process that led him to this series of works: In making this plaque, I began by wanting to make from memory exactly what I had seen. I started well enough by analysing a figure, with the legs, the head, the arms, but it all seemed wrong... To get nearer to my idea I had to sacrifice more and more, to reduce it... leave the head off, the arms, everything. All that remained of the figure was this plaque... It took a great deal of time to arrive at that plaque. It took a whole winter to make that plaque and two others of the same type... I started two or three sculptures and they all took the same course... (quoted in Alberto Giacometti, 1901-1966 (exhibition catalogue), Edinburgh, 1996, p. 143). Evident in the present work is the significant influence that ancient Aegean sculpture had upon the artist. In the mid 1920s, Giacometti was exposed to a wide range of Cycladic forms (3000-2000 B.C.), including many representations of the female figure (see fig. 2). Working among the artists of the avant-garde in Paris, Giacometti's attraction to these objects was not uncommon. During the first half of the 20th century, tribal masks and reliquary sculpture from the African continent and Aegean archipelago were a powerful force in the modern art movement and catalyzed significant deviations from conventional naturalism in figural representation. Véronique Wiesinger describes the influence this 'primitive' art had upon Giacometti during the late 1920s when Femme was conceived: Some of the first attacks Giacometti waged against representational conventions after 1925 derived from his study of primitive art and its decentering of Western civilization, as well as from his exploration of the relationship between the sexes, which both he and the Surrealists viewed as the cornerstone of the social system. The vehicle of his attack was visual perception, a domain he explored early on to the point of physical dizziness. It is through his investigation into perception that he was able to free himself from academic conventions, his work oscillating between various types of formal experiments (Véronique Wiesinger, On Women in Giacometti's Work [And Some Women in Particular], The Women of Giacometti (exhibition catalogue), New York, 2005, p. 15). According to Mary Lisa Palmer of the Association Alberto and Annette Giacometti, the date of this cast in 1927-28. Ms. Palmer observes that in his notebooks the artist dated the work 1926-27. Véronique Weisinger of the Comité Giacometti, however, argues that this work the dates from 1928-29, and this date is cited in her recent catalogue for the exhibition at the Centre Pompidou in 2007.Sotheby's, subastador, New York, US
🔓Sin tarjeta de crédito.
Título de venta : Impressionist Part I
Fecha de la venta : 07/05/2008
🔓Sin tarjeta de crédito.
Referencia de la subasta : Live Sale
