The man leans forward, leaning slightly from the waist, as if standing in a strong breeze. Not as slim as the spectral, stretched like a chewing gum, as a matter of fact, because of the smoke. However, despite the fragility of the he was determined, even heroic. A man walks, a bronze produced by Alberto Giacometti in the 1960’s, the searing monument to an age of anxiety and a symbol of resistance in the face of overwhelming needs.
During his life, Giacometti who was born in Switzerland in 1901, it sometimes seems very old-fashioned idiosyncratic beat signal. But his reputation continued to grow while his contemporaries, who know the creed of modernist, notes. Today his humanity and compassion attract the masses in a way sculptors more formal can’t. In the recent flurry of activity has strengthened its position among a small group of artists, among them Pablo Picasso, Frida Kahlo, whose work and personality crept in the public consciousness.
Large-scale retrospective of his work opened at the Guggenheim Museum in New York on June 8 (the Tate Modern in London held a similar exhibition last year). At the same time, the Institute of income will be opened in Paris on 21 June. Both are projects of the enterprise income, which was established in 2003 to promote the study and appreciation of the artist, the management of the world’s largest collection of paintings, sculptures, drawings (inherited by his widow, Annette). The institute will serve as a space of permanent exhibition; the microcontroller will be able to make the pilgrimage to the studio of Giacometti, and keep it as a sanctuary after his death in 1966 and now rebuilt.
Income. also appeared in the cinema screens. The final image, a tribute released in the United States in March, starring Geoffrey Rush as the genius of the tormented. His works are also high in auctions. In 2015, man pointing (1947) amounted to $ 141 million, the highest price ever paid for a sculpture.
Help on real income appear with the photos. With her features wrinkled and irregular and looked of gray hair, and her charming rogue, and betrayal in the series fits perfectly with the concepts of popular as it should look like an artist. But, says Catherine Grenier, director of the Giacometti the artist himself was not very interested in fame and fortune. He insisted to follow the same path, giving the shoulders to the whims of the art scene. Megan Fontanella, Secretary-General of the exhibition in the Guggenheim Museum, says that the income of my “one artist in a certain way and lonely in your own time.”
After 2.* World War, says Fontanella abstraction was widely seen as the art of the future. Carefully, the escort returned to human form. In the decades of the 1940s and 1950s, he developed a signature style of creating these figures is unbearable frail that his friend Jean-Paul Sartre, in comparison with the “martyrs without the flesh of Buchenwald”. But while these fragile human beings, is often so sharp that they seem to disappear, appeared in response to the war of genocide that they include more of this horror. These “natures thin and slender they rise to heaven,” continued He; ” the dancers, made of the same matter dislocate the council bodies to which they were promised.” Works such as man walking and I am a man signs, both currently on view at the Guggenheim Museum, it seems damaged, but the committed and resolute in the face of adversity.
Giacometti also excelled their peers in the willingness to embrace the past. Reject the guidance of modernist “new” (in the words of Ezra Pound), he led a dialogue of life with the traditions of sculpture which dates back to thousands of years. Not many of the sculptures remain with the severe form of the Egyptian pharaoh; the chariot (1950) refers to the numbers discovered from the tombs of the Etruscan. Many of the early works, made while he was a member of the Surrealist movement, recall the simplified forms of the ancient art of the Cyclades.
But their production is also clear. Avoid the approach to archaeological heroic, which for centuries was the default mode of the sculpture, his figures are evocations of funding and resentment that fit in the World disappointed with style embellished. The bodies that the models or slimming lost their physical integrity, in the sense of clear boundaries between the outside and the inside. They are crushed, eaten, punched and pulled that extend over large distances, even when they seem on the verge of collapse under its own weight. They are rooted in the ground, his efforts became even more influential than obvious futility.
This feeling of longing and searching without finding, is also clear in the graphics and paintings by less well-known. Typical of the funding income is Yanaihara brings the whole body (1957), a picture, a model asked 230 times, five to eight hours per day. After all this effort, his features almost completely destroyed by a spot of brown ink. the certificate of the difficulty of capturing another human being on the whole.
To provide academic resources and facilitate the supply, Granger and the institution helped to keep alive the myth of income. But they succeeded only because their work still resonates. The master of pressure, the income provides a source of consolation in an era of doubt. Translation/ Claudia Bozzo