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Alberto Giacometti,阿尔贝托·贾科梅蒂,德国室内设计dinzd.com

花匠小妙招
2024-11-03 11:02

1. 在画室中度过的青年时期 / A youth spent in a studio

Alberto Giacometti在瑞士布雷加利亚山谷长大，这里距离瑞士与意大利边境仅数公里。他的父亲 Giovanni Giacometti（1868-1933）是一位受瑞士藏家和艺术家推崇的印象派画家。父亲经常与他分享对艺术及其本质的见解。14岁时，Alberto Giacometti在父亲的画室里创作了他的第一幅油画《苹果静物》（约1915年）和第一件雕塑作品《迪埃戈胸像》（约1914-1915年）。他的父亲和教父——象征主义画家库诺·阿米耶（1868-1961）是对年轻的阿尔贝托艺术发展产生重要影响的两个关键人物。

Alberto Giacometti grew up in Switzerland in the Val Bregaglia alpine valley, a few kilometers from the Swiss-Italian border. His father, Giovanni Giacometti (1868-1933) was an impressionist painter esteemed by Swiss collectors and artists. He shared his thoughts with his son on art and the nature of art. Alberto Giacometti produced his first oil painting Still Life with Apples, circa 1915 and first sculpted bust Diego, circa 1914-1915 in his father's studioat the age of fourteen. His father and his godfather, the Symbolist painter Cuno Amiet(1868-1961) were two crucial figures in young Alberto’s artistic development.

1922年，Alberto Giacometti前往巴黎求学，进入大夏米埃尔艺术学院，在那里师从雕塑家安托万·布尔德尔。他的裸体素描既体现了这段学徒时期的特点，又如同他最早期的立体主义雕塑一样，显示出雅克·利普希茨和费尔南·莱热的影响。

In 1922, Giacometti went to Paris to study, enrolling in the Académie de la Grande-Chaumière, where he attended classes given by the sculptor Antoine Bourdelle. Drawings of nudes attest both to this apprenticeship and, like his earliest Cubist sculptures, to the influence of Jacques Lipchitz and Fernand Léger.

Diego，Circa 1914 – 1915 / Alberto Giacometti / Plaster / 27 x 11,1 x 13,8 cm / ©Succession Alberto Giacometti

2. 邂逅非洲与大洋洲艺术 /The encounter with the arts of Africa and Oceania

Alberto Giacometti的作品明显受到非洲和大洋洲雕塑的影响。当这位年轻艺术家在1926年开始对非洲艺术产生浓厚兴趣时，这种艺术形式对上一代现代艺术家（如毕加索、德兰）而言已不再新鲜；事实上，它甚至已经普及到成为一种装饰风格的程度。

Giacometti’s work shows the influence of African and Oceanian sculpture. When the young artist developed an interest in African art in 1926, it was no longer a novelty for the modern artists of the previous generation (Picasso, Derain); it had even become popularized to the point of becoming decorative.

Alberto Giacometti In The Studio At Rue Hippolyte Maindron, 1927 1914 – 1915 / Alberto Giacometti / ©Succession Alberto Giacometti

《勺子女人》和《情侣》这两件作品首次引起公众对Alberto Giacometti的关注，它们都在1927年的巴黎杜伊勒里沙龙展出，两件作品都清晰地展现了这次文化碰撞给年轻艺术家带来的巨大冲击。1928年，Alberto Giacometti开始创作一系列女性和扁平头像作品，这些作品的创新性为他赢得了1929年的赞誉，也使他获得了与皮埃尔·勒布画廊的首份合约，该画廊当时展出超现实主义艺术家的作品。

The two works which first brought Giacometti to the attention of the public were the Spoon Woman and The Couple, both shown in 1927 at the Salon des Tuileries in Paris, and both illustrating the upheaval created in the young artist by that cultural encounter. In 1928, Giacometti embarked on a series of women and flat heads, whose novel quality earned him acclaim in 1929, and resulted in his first contract with the Pierre Loeb gallery, which exhibited the Surrealists.

在那些年里，Alberto Giacometti与非洲雕塑开创性著作《黑人造型艺术》（1915）的作者卡尔·爱因斯坦，以及后来成为多贡艺术专家的米歇尔·莱里斯建立了友谊。他后来的许多作品，包括一些杰出的彩绘石膏作品和少量油画，都显示出非西方艺术对他创作的持久影响。艺术家逐渐远离自然主义和学院派的表现手法，转而追求一种图腾式的、有时甚至显得狂野的人物视觉表现，充满神秘的力量。

In those years, Giacometti was friends with Carl Einstein, author of the seminal book on African sculpture, Negerplastik (1915) and Michel Leiris, who would become a specialist in Dogon art. Several later works, including some outstanding painted plasters and one or two paintings, show how non-western art had a lasting influence on his output. The artist moved away from naturalist and academic representation, in favour of a totemic and at times wild vision of the figure, filled with a magical power.

The Couple, 1927 / Alberto Giacometti / Bronze / 58,3 x 37,4 x 17,5 cm / © Succession Alberto Giacometti

3. 超现实主义实验 / The surrealist experiment

Alberto Giacometti于1931年加入了安德烈·布勒东的超现实主义运动。作为布勒东小组的积极成员，Alberto Giacometti很快就以其罕见的雕塑家身份脱颖而出。尽管他在1935年2月被开除出该组织，但超现实主义的创作手法仍然在他的艺术创作中发挥着重要作用：梦幻般的视觉呈现、蒙太奇与拼贴、具有隐喻功能的物件，以及对人物形象的魔幻处理手法。

Giacometti joined André Breton’s Surrealist movement in 1931, as an active member of Breton’s group, Giacometti in no time stood out as one of its rare sculptors. Despite his being expelled in February 1935, surrealist procedures continued to play an important part in his creative work: dreamlike visions, montage and assemblage, objects with metaphorical functions, and magical treatment of the figure.

《凝视的头部》在1929年就引起了该群体的注意，而1932年创作的《行走的女人》则是为1933年重要的超现实主义展览而构思，这件作品的无头无臂版本还在1936年伦敦超现实主义展览中展出。名为《凌晨四点的宫殿》的布景装置的彩绘版本，则唤起了他梦幻世界中的戏剧性特质。当Alberto Giacometti在1965年为伦敦回顾展创作《悬浮球》的最终版本，并同时提供了一个彩绘版本时，艺术家展现了他与超现实主义运动的联系是如何延续至今的。

The Gazing Head, caught the attention of the group in 1929, and the Walking Woman of 1932, conceived as a model for the major Surrealist exhibition of 1933, in the version with neither arms nor head, featured in the 1936 Surrealist show in London. A painted version of the set construction titled The Palace at 4 a.m. conjures up the theatrical aspect of his dreamlike world.When, in 1965, Giacometti created a final version of the Suspended Ball for a retrospective in London, and by also providing a painted version of it, the artist showed how his links with the movement lived on.

Gazing Head, 1929 / Alberto Giacometti / Plaster coated with a parting compound, pencil traces / 40 x 36,4 x 6,5 cm / © Succession Alberto Giacometti

4. 物件创作 / Objects

Alberto Giacometti创作装饰艺术品体现了他对实用物件的浓厚兴趣，这种兴趣源自他对古代和原始社会实用物品的推崇。1931年，Alberto Giacometti创造了一种新型雕塑类型，他称之为"可移动的沉默物件"——这些由木匠制作的木质作品以一种潜在的、暗示性的方式呈现动态。如同《令人不快的物件》和《可扔掉的令人不快的物件》一样，《悬浮球》在物件与雕塑之间架起了一座桥梁，挑战了艺术品的既有地位。在这些雕塑中，Alberto Giacometti首次采用了"笼子"的手法，这使他能够划定一个梦幻般的表现空间。

The creation of decorative art objects shows Giacometti’s interest in utilitarian objects which he admired in ancient and primitive societies. In 1931, Giacometti created a new typology of sculptures, which he called “mobile and mute objects” – things moving in a latent, suggestive way, which he had made of wood by a carpenter.Like the Disagreeable Object and the Disagreeable Object To Be Thrown Away To Be Thrown Away, the Suspended Ball established a bridge between object and sculpture, and challenged the actual status of the work of art. In some of these sculptures, Giacometti had recourse, for the first time, to the procedure of the “cage”, which enabled him to delimit a dreamlike space of representation.

从1930年起，Alberto Giacometti创作了大量实用物件：台灯、花瓶和壁灯，这些作品由前卫室内装饰师让-米歇尔·弗兰克销售。他还为特别委托设计制作石膏和赤陶浮雕——这里展出的作品是为一位美国收藏家和巴黎路易-德雷福斯府邸所作。1939年，他成为受邀为一对阿根廷收藏家夫妇设计重要作品的艺术家之一，为他们设计了壁炉、枝形吊灯和壁台桌。这套由让-米歇尔·弗兰克统筹的完整装饰在运往布宜诺斯艾利斯之前，曾在巴黎以1:1的比例进行过装置展示。战后，Alberto Giacometti继续创作其他物件，包括1950年受多贡雕像和埃及丧葬物品启发创作的台灯，以及1959年应其画廊主艾梅·马格特之托而设计的围巾。

From 1930 on, Giacometti created many utilitarian objects: lamps, vases, and wall lights which were sold by the avant-garde interior decorator Jean-Michel Frank. He also designed plaster and terra cotta bas-reliefs for special commissions – those on view here were made for an American collector, and the Louis-Dreyfus mansion in Paris. In 1939, he was one of the artists approached for a major commission by a couple of Argentinian collectors for whom he designed fire places, chandeliers, and console tables. Just before being dispatched to Buenos Aires, the complete décor, coordinated by Jean-Michel Frank, was installed in a life-size model in Paris.After the war, Giacometti went on creating other objects, including, in 1950, a lamp inspired by Dogon statuary and Egyptian funerary objects, and, in 1959, a scarf for a commission from his gallerist Aimé Maeght.

Disagreeable Object, To Be Thrown Away, 1929 / Alberto Giacometti / Bronze / 22,8 x 34,3 x 25,9 cm / © Succession Alberto Giacometti

5. 什么是头部？ / What is a head ?

头部研究是Alberto Giacometti终其一生的核心研究课题，同时也是他1935年被超现实主义群体除名的原因。那一年，对他而言，头部的表现这个看似平常的主题远未得到解决。头部，尤其是眼睛，是人类存在和生命的核心，其神秘性深深吸引着他。在1933年父亲乔瓦尼去世后，Alberto Giacometti创作了1934年的《头部-颅骨》。此后，他对头部主题的众多变奏表明这是一个永无止境的探索课题，尤其当它与比例问题相结合时：对Alberto Giacometti来说，准确呈现他的视觉体验也意味着要表现观看主体时的距离感。

The issue of the human head was the central subject of Giacometti’s research throughout his life, as well as the reason for his exclusion of the Surrealist group in 1935. In that year, the representation of a head, which seemed to be a common-or-garden subject, was, for him, far from being resolved. The head and, above all, the eyes are the core of the human being and of life, whose mystery fascinated him.After the Head-Skull of 1934, developed after the death of his father Giovanni in 1933, his many different variations on heads show that the subject was inexhaustible, and all the more so if it was combined with the question of scale: for Giacometti, coming up with an exact rendering of his vision also meant providing the distance with which the subject had been looked at.

在20世纪30年代，他进行头部研究的模特包括他的弟弟迪埃戈、英国艺术家朋友伊莎贝尔（德尔默），以及职业模特丽塔（盖菲耶）。伊莎贝尔是他在拉丁区远远望见的身影，成为了他最早期微型人像的创作主题。1945年从瑞士回到巴黎后，Alberto Giacometti再次证明了monumentality（纪念性）与尺寸大小无关，他为一些重要人物创作了小型肖像：艺术赞助人玛丽-劳尔·德·诺阿耶、他在1941年结识的作家西蒙·德·波伏娃，以及应阿拉贡之请为抵抗运动英雄罗尔-唐吉创作的肖像。

In the 1930s, the models for his research into the head were his brother, Diego, an English artist friend, Isabel (Delmer), and a professional model, Rita (Gueyfier). Glimpsed from afar in the Quartier Latin, Isabel was the subject of one his very earliest miniature figurines. After his return to Paris from Switzerland in 1945, Giacometti once again showed that monumentality was separate from size, by making small-format portraits of important personalities: the patron of the arts Marie-Laure de Noailles, the writer Simone de Beauvoir, whom he had met in 1941, and, at Aragon’s request, the Resistance hero Rol-Tanguy.

Head Of Isabel, 1936 / Alberto Giacometti / Plaser / 30,3 x 23,5 x 21,9 cm / © Succession Alberto Giacometti

6. 如同树的女人，如同石头的头部 / A woman like a tree, a head like a stone

在二战期间的瑞士，Alberto Giacometti于1944-45年构思了他战后立式人像的原型作品：《带轮车的女人》，这件作品是他凭记忆塑造的英国友人伊莎贝尔的形象。1945年至1965年间，Alberto Giacometti对表现空间进行了深入研究，立式人像雕塑就是其中的典范：这些人像正面而立，双臂贴身，面无表情。他采用两种方式处理空间：要么将人像置于底座之上使其与地面隔离，要么将其置于"笼子"中形成虚拟空间。一些作品如《林中空地》被放置在高于基座的平面上——这同样是为了建立一个与我们平行的空间。这些立式女性人像呈现出暗示性的轮廓，有时被简化为一条线，invariably（始终）通过系列作品的连续阶段来呈现。

It was in Switzerland, where Giacometti spent the Second World War, that he had the idea in 1944-45 for the sculpture which would be the prototype for his postwar standing figures: the Woman with Chariot, which depicts the image of his English friend Isabel from memory.The sculpture of a standing figure, facing forward with her arms beside her body and her face expressionless, is a fine example of Giacometti’s research between 1945 and 1965 involving the space of representation: the figures were either set on pedestals which isolated them from the ground, or incorporated in “cages” forming a virtual space. Some compositions like The Glade were placed on flat surfaces raised above pedestal level – here, too, it was a matter of establishing a space parallel to ours. The standing female figures are allusive silhouettes, sometimes reduced to a line, and invariably approached by way of successive phases conveyed by series.

Alberto Giacometti Holding Three Man Walking I (Large Base), 1948 / Alberto Giacometti / © Succession Alberto Giacometti

《底座上的四个女人》和《支架上的四个小人像》体现了艺术家在不同情境下远距离观察四个站立女性的两种视觉体验。在《行走的三个男人》中，Alberto Giacometti试图在雕塑中捕捉运动中人物的瞬间状态。1950年，他创作了一系列雕塑，表现了一个林中空地的景象，其中树木被塑造成女人，石头则呈现为男人的头部——这一意象后来被他发展到了极致，创作成真人大小的作品。

The Four Women on a Base and Four Figurines on a Stand materialize two visions involving four standing women seen from a distance, and in different circumstances. With the Three Men Walking Giacometti tried to grasp in sculpture the fleeting sight of figures in motion. In 1950, Giacometti produced a series of sculptures conveying the image of a clearing where the trees were women and the stones men’s heads – an image which he would later push to its extreme, in a life-size piece.

The Forest, 1950 / Alberto Giacometti / Bronze / 57 x 61 x 47,3 cm / © Succession Alberto Giacometti

7. 碎片与视象 / Fragments and visions

在Alberto Giacometti的艺术世界里，局部唤起整体，视象在观者的空间中徐徐展开。1921年与1946年，他两次与死亡不期而遇，这些时刻在他心中留下了永恒的印记。第一次，在临终者的床畔，他凝视着那个仿佛随生命流逝而渐渐延长的鼻子，陷入深深的迷思。第二次，在逝者的遗体前，那后仰的头颅、微张的唇、瘦削如骨的肢体，以及死亡无处不在的恐惧感，萦绕心头——仿佛那只手随时可能穿墙而来。自此，虚空中漂浮的头颅幻象不断追随着他，促使他执着地通过雕塑来捕捉这些虚实之影。

Giacometti’s work studies the part as an evocation of the whole, and the emergence of a vision in the spectator’s space. In 1921 and 1946, Giacometti witnessed two deaths which left him with an indelible memory.At the bedside of the first dying person he was fascinated by his nose which seemed to him to grow longer as life ebbed away. In front of the corpse of the second person, he remembered the head tipped backwards, the open mouth, the skeletal limbs, and the terror felt at the idea that the dead was everywhere and that its hand might pass through the walls and reach him. Pursued by visions of heads suspended in the void, he strove to convey them in sculpture.

从少年时代起，人的凝视就令他着迷，而"生命寄居于眼眸之中"的感受在经历这些后愈发强烈。回忆那段岁月，他这样说道："当一个人站在我面前两三码远的地方，我无法同时看清他的眼睛、手和脚，但凝视的那一处却能让我感受到整个存在的真实。"

He had been fascinated since boyhood by the human gaze, and the impression that life lies in the eyes was now heightened. Talking about those years, he declared: “I cannot simultaneously see the eyes, the hands, and the feet of a person standing two or three yards in front of me, but the only part that I do look at entails a sensation of the existence of everything.”

Annette, Circa 1952 / Alberto Giacometti / Oil on canvas / 47,2 x 33,8 cm / © Succession Alberto Giacometti

8. 相遇 / Encounters

1941年，Alberto Giacometti结识了哲学家让-保罗·萨特，后者在1948年和1954年发表了两篇关于感知问题的重要文章，对艺术家的作品进行了深入阐释。同样意义深远的是他与萨特的日本翻译家、哲学教授柳内原勇（Isaku Yanaihara）的对话。1956年至1961年间，柳内原勇多次为Alberto Giacometti担任模特。1948年，法国政府为表彰法国知识分子和艺术家，委托Alberto Giacometti设计一枚致敬让-保罗·萨特的奖章。虽然这枚奖章最终未能铸造，但相关设计草图得以保存。

Giacometti met philosopher Jean-Paul Startre in 1941, who is the author of two essential essays about the artist’s work, published in 1948 and 1954, dealing with the issue of perception.Just as significant were his conversations with Sartre’s Japanese translator, Isaku Yanaihara, a professor of philosophy, who posed for Giacometti between 1956 to 1961. In 1948, keen to honour French intellectuals and artists, the French state commissioned Giacometti to design a medal dedicated to Jean-Paul Sartre; the medal was never actually made, but there are drawings for it.

从1951年直至辞世，Alberto Giacometti创作了一系列"暗色头像"。这些作品与一些无名的雕塑头像一起，赋予了"普遍人"概念以具象的形式。萨特在1964年的小说《词语》中用一句话概括了这一理念："一个完整的人，由所有人构成，值得所有人，而任何一个人都与他等值。"这成为了Alberto Giacometti对二十世纪肖像艺术史最精粹的贡献。

Between 1951 and his death, Giacometti produced a series of “dark heads”, which, together with some anonymous sculpted heads, lent substance to the “generic” man concept, which Sartre would sum up, in 1964, in his novel Les mots, with the sentence: “A whole man, made of all men, worth all of them, and any one of them worth him”. This was Giacometti’s quintessential contribution to the history of the portrait in the 20th century.

Jean-Paul Sartre Leaning On His Elbow, Circa 1949 / Alberto Giacometti / 29,3 x 22,5 cm / © Succession Alberto Giacometti

倚肘的让-保罗·萨特，约1949年 / 纸本铅笔擦改 / 尺寸：29.3 x 22.5厘米 / 巴黎贾科梅蒂基金会收藏 / © 阿尔贝托·贾科梅蒂遗产管理会（巴黎贾科梅蒂基金会 + 法国美术著作权协会ADAGP，巴黎）

JEAN-PAUL SARTRE LEANING ON HIS ELBOW, Circa 1949 / Pencil reworked with eraser on paper / 29,3 x 22,5 cm / Fondation Giacometti, Paris / © Succession Alberto Giacometti, (Fondation Giacometti, Paris + ADAGP, Paris)

9. 肖像创作 / Portraits

Alberto Giacometti的肖像作品，无论是绘画还是雕塑，都体现了对模特作为一种永远无法完全把握的"他者性"的诠释。这些肖像摒弃了情感与表情的刻画，成为观者投射自身观照的容器。艺术家致力于捕捉和呈现模特生命的振动，而非其心理状态。在Alberto Giacometti笔下，他母亲的厨师丽塔（Rita）超越了社会身份的局限，呈现出祭司般的庄严形象。

Giacometti’s portraits, be they painted or sculpted, are the translation of the model as an implacable otherness, which can never be grasped in its entirety. These portraits, devoid of all emotion and expression, are the receptacle of what the spectator brings to them. What was involved for the artist was capturing and rendering the vibration of the life of his models and not their psychology. Under Giacometti’s brush, his mother’s cook, Rita, became a sacerdotal character relieved of any sociological context.

他最钟爱的模特是身边的亲近之人：1949年与他结婚的妻子安妮特，以及作为其助手、见证其最深入艺术探索的兄弟迪亚哥。通过记忆作画时，他在想象的空间中重现他们的形象。面对模特写生时，他摒弃了传统透视法，依据自己的视觉经验重构模特的姿态——呈现出破碎的、变形的，却始终充满活力的特质。模特的特征时而消融、时而融合，最终归于本质。Alberto Giacometti也为一些愿意长时间摆姿势的临时模特创作，如英国实业家兼收藏家罗伯特·森斯伯里爵士、优雅的知识分子葆拉·卡罗拉-托雷尔，以及艺术家皮埃尔·若斯。每次写生都会激发出新的知觉序列，艺术家试图通过笔触将其构建出来。卡罗琳是一位美丽而性格复杂的女性，与罪犯交往，从1960年开始为他当模特，在作品中呈现出三种截然不同的形象：遥远的女神、危险而图腾化的形象，以及具有雕塑美感的形态。

His favourite models were people who lived around him: his wife Annette, whom he married in 1949, and Diego, his brother and assistant, who acted as a medium for his most advanced research. Working from memory, he brought forth their image within an imaginary space. Working from models, he turned his back on classical perspective and reconstructed his models posing as he saw them – in their fragmented or deformed, but ever-changing, aspect. Their distinctive features dissolved and sometimes merged, or were reduced to essentials. Giacometti also painted occasional models, as long as they agreed to pose for hours in front of him: the English industrialist and collector Sir Robert Sainsbury, the sophisticated intellectual Paola Carola-Thorel, and the artist Pierre Josse. Every modelling session gave rise to a new sequence of perceptions, which the artist sought to build up with his brush. Caroline, a pretty woman with a complex personality who hung out with criminals and posed from 1960 onwards, was presented in three very different aspects: a remote goddess, a dangerous and totemic figure, and a sculptural beauty.

Buste D’annette Vill, 1962 / Alberto Giacometti / Bronze / 59 x 26,70 x 22,80 cm / © Succession Alberto Giacometti

10. 五十年的版画艺术 / Fifty years of prints

Alberto Giacometti的版画创作始于学生时期，在父亲的指导下制作了最初的木刻作品。在其艺术生涯中，他尝试了各种版画技法：木刻、雕版、蚀刻、飞尘腐蚀法，尤其是1949年之后着重发展的石版画。

Giacometti produced his first prints – wood etchings – alongside his father when he was still a schoolboy. During his life, Giacometti tried his hand at every print technique: wood, engraving, etching, aquatint, and above all, lithography, from 1949 onward.

1934年，作为安德烈·布勒东婚礼的见证人，他为诗人赠予新婚妻子的诗集《水的气息》作插画。作为一位热爱书籍且与众多作家诗人交好的艺术家，他还为多位文学家的作品配图：勒内·克雷维尔的《搅浑水》（1933年）、乔治·巴塔耶的《鼠的故事》（1947年）、米歇尔·莱里斯的《无名的活灰》（1961年）以及勒内·沙尔的《上游归来》（1965年）。从1951年起，他创作的石版画由玛格画廊单独出版。Alberto Giacometti一直支持通过优质出版物传播他的作品。石版画技术将素描转印到锌版上，其优势在于设备轻便易用：只需特制纸张和石版画笔。这使艺术家能够离开工作室，走上街头素描城市景象、咖啡馆露台、高架地铁、奥利机场等现代建筑工地，以及制版工坊，然后返回工作室继续创作。这些素材最终汇集成《永无止境的巴黎》，这是出版商泰里亚德委托的一套150幅版画集，Alberto Giacometti从1959年开始创作，但直到他英年早逝后才得以出版。

As a witness at André Breton’s wedding in 1934, he illustrated the anthology offered by the poet to his young wife, L’Air de l’eau. Giacometti, who was a great book lover and friend of many writers and poets, also illustrated the writings of René Crevel (Les Pieds dans le Plat, 1933), Georges Bataille (Histoire de rats, 1947), Michel Leiris (Vivantes cendres, innommées, 1961), and René Char (Retour Amont, 1965). From 1951 onward, he produced lithographic plates which were separately published by the Maeght Gallery. Giacometti was always in favour of disseminating his work through quality editions. Lithography involving the transfer of a drawing onto a zinc plate offered the advantage of requiring lightweight equipment that was easy to handle: special paper and a lithographic pencil.The artist was thus able to leave his studio, go out into the street and sketch his city, café terraces, the overhead Metro, modern building sites like Orly airport, and the lithographer’s print shop, and then return to his studio. This would be the subject of Paris sans fin, a collection of 150 prints commissioned by the publisher Tériade, on which Giacometti worked from 1959 on, but which was not published until after his premature death.

Composition I, Sheet For The Portfolio Of Anatole Jakovsky, 1935 / Alberto Giacometti / © Succession Alberto Giacometti

构图 I, 1935年 / 出自雅科夫斯基作品集 / 巴黎：H. 奥罗比茨出版 / 23幅版画之一 / 雕刻 / 尺寸：32.5 x 24.9厘米 / 巴黎贾科梅蒂基金会收藏 / © 阿尔贝托·贾科梅蒂遗产管理会（巴黎贾科梅蒂基金会 + 法国美术著作权协会ADAGP，巴黎）

COMPOSITION I,1935 / Sheet for the portfolio of Anatole Jakovsky / Paris: H. Orobitz / 23 prints / Engraving / 32,5 x 24,9 cm / Fondation Giacometti, Paris / © Succession Alberto Giacometti, (Fondation Giacometti, Paris + ADAGP, Paris)

11. 风景 / Landscapes

Alberto Giacometti在人物形象与自然之间建立了一个对等关系系统：半身像如山峦，站立的人像似树木，头部犹如顽石。在阳光下，山峦的振动宛如呼吸。如同树木一般，人类也被困在永不停息的生长与死亡过程之中。

Giacometti creates a system of equivalences between the human figure and nature: the busts are mountains, the standing figures are trees, the heads are stones. In the sunlight, the mountain vibrates with a throb which resembles breathing. Like the tree, the human being is caught in a process of growth and death which can never be halted.

这一主题装饰着Alberto Giacometti在1956年为美国宾夕法尼亚州考夫曼家族墓室制作的门。1958年，被一个夜间的景象所触动，他急切地创作了一幅画作，将人、树、山这三者统一起来。然而对Alberto Giacometti而言，最平常之物才蕴含着未知与奇妙。他观察到，从斯坦帕工作室窗外所见的风景永远在变化，他可以"每天观看同一个花园、同样的树木和同样的背景"；在巴黎，他则会长久凝视对街的小房子，从自己的门前将其画下。他惊叹于"无需改变位置就能绘制的所有美丽风景，那些最普通、无名、平凡却最为美丽的景色"

This theme adorns the door which Giacometti finished making in 1956 for the vault of the Kaufmann family in Pennsylvania (United States). In 1958, gripped by a nighttime vision, he hurriedly painted a picture which brought together that trilogy: man, tree and mountain. For Giacometti, however, it was above all the most ordinary which contained the unknown and the wonderful. He observed that the landscape he painted from his studio window in Stampa was forever changing, and that he could “spend every day looking at the same garden, the same trees, and the same backdrop”, or, in Paris, remain in front of the small house, on the other side of the street, which he painted from his door. He was amazed by “all the beautiful landscapes to be painted without changing places, the most ordinary, anonymous, banal and beautiful landscape you could ever see.”

Landscape At Stampa, Circa 1961 / Alberto Giacometti / Oil on canvas / 68,8 x 60 cm / © Succession Alberto Giacometti

12. 纪念碑 / Monument

1958年12月，通过纽约画商皮埃尔·马蒂斯，Alberto Giacometti受邀为曼哈顿大通银行新摩天大楼前正在建设的广场提交一个纪念碑方案。1959年2月，这个城市综合体的建筑师戈登·邦夏夫特寄给他广场的尺寸模型，帮助从未踏足美国的艺术家构想这个空间。

In December 1958, through his New York dealer Pierre Matisse, Giacometti was invited to submit a project for a monument to be installed in the square being built in front of the new Chase Manhattan Bank skyscraper in Manhattan. In February 1959, the architect of this urban complex, Gordon Bunshaft, sent him the dimensions for making a model of the square, designed to help Giacometti to imagine the space, because the artist had never set foot in the United States.

Alberto Giacometti决定将1948年以来萦绕其创作的三个主题以宏大尺度呈现：一个巨大的站立女性形象、一个大型行走的人、一个置于地面的巨型头像，三者相互呼应形成关系。通过这座纪念碑，他首次允许观众进入他那奇妙的世界，在这里女人如树，头像似石，行走者的掠影穿梭其间，构成一片魔幻的林间空地。最终，由于艺术家在1961年退出竞争，这座纪念碑未能在纽约落成。Alberto Giacometti选择将每个雕塑分别用青铜铸造，并在1962年威尼斯双年展上展出了第一个版本。另一个版本于1964年安装在玛格基金会的庭院中，俯瞰蔚蓝海岸的松树林。

Giacometti decided to use, on a grand scale, the three motifs which had haunted his oeuvre since 1948: a gigantic standing female figure, a large walking man, and a monumental head set on the ground, all arranged in relation to each other. With this monument, for the first time, he permitted spectators to enter his wonderful world where trees were women and stones were heads, a magical glade criss-crossed by the fleeting forms of walking men. In the end, the monument was not installed in New York, because the artist backed out of the competition in 1961.Giacometti chose to produce each of the sculptures separately in bronze, and showed a first version of this set at the 1962 Venice Biennale. Another version was installed in 1964 in the Fondation Maeght’s courtyard overlooking a pine wood on the Côte d’Azur.

Tall WomanⅠ, 1960 / Alberto Giacometti / Oil on canvas / 272 x 34,9 x 54 cm / © Succession Alberto Giacometti

13. 《最后的模特》 / The last model

电影制作人、摄影师埃利·洛塔尔是Alberto Giacometti最后一位男模特。洛塔尔曾在20世纪30年代是超现实主义先锋派的一员。战后年代里,他饱尝失败,最终一贫如洗;他靠着老朋友如Alberto Giacometti的慷慨度日,Alberto Giacometti会付钱让他跑腿办事和当模特。

Eli Lotar, a film-maker and photographer, was Giacometti’s last male model. Lotar, a had been part of the Surrealist avant-garde in the 1930s. In the postwar years, he was dogged by failure and became destitute; he lived off the generosity of old friends like Giacometti, who gave him money in exchange for running small errands and posing.

Giorgio Soavi这样描述那些要求洛塔尔保持绝对静止的创作场景:"Alberto Giacometti的眼中闪烁着奇异的光芒,他全身的每个肢体都在震颤,他完全随着支配他双手、手臂和双腿的冲动而动:他陷入了狂喜之中。当我仔细观察这两张面孔时,我明白了让洛塔尔能够屏住呼吸的秘密:如果埃利是那尊雕塑的理想模特,那是因为他已经'死去'。他不呼吸,他不思考,他的注意力集中在至高点。一股电流将艺术家与模特连接在一起,将他们包裹在真实的默契中。他们在一起玩耍,却没有球,没有球拍,也没有球网。"在这些令人联想到圣物匣和埃及雕像的作品中,这个成为流浪汉的人被赋予了祭司般的尊严。让·热内注意到,对Alberto Giacometti而言,女人是女神,男人则是"属于最高等级神职人员"的祭司,他们"永远属于同一个高傲而忧郁的家族。亲近却又很远。不可企及。"

Giorgio Soavi has described these sessions, where Lotar had to remain absolutely still, as follows: “[Giacometti’s] eye was filled with strange gleams, his body vibrated in every limb, all he followed were the impulses which governed his hands, his arms, and his legs: he was in ecstasy. As I looked closely at the two faces, I understood the secret which enabled Lotar not to breathe: if Eli was the ideal model for that sculpture, it was because he was dead. He didn’t breathe, he didn’t think, he remained focused on the highest point. An electric current connected the artist to the model, wrapping them in a real complicity. They played together, without any ball, racket, or net.” In these sculptures, which evoke the reliquary and Egyptian statuary, the man who became a tramp was given the dignity of a priest. Jean Genet noted that, for Giacometti, women were goddesses and men priests “belonging to a very senior clergy”, all of them depending “invariably on the same haughty and gloomy family. Familiar and very close. Inaccessible.”

人.jpg Alberto Giacometti / 瑞士著名雕塑家、绘画家

Alberto Giacometti是一位瑞士雕塑家、画家、绘图师及版画家。自1922年起，他主要居住并工作在巴黎，但定期返回故乡博格诺沃（Borgonovo）探望家人并从事艺术创作。

Alberto Giacometti (, US also , Italian: [alˈbɛrto dʒakoˈmetti]; 10 October 1901 – 11 January 1966) was a Swiss sculptor, painter, draftsman and printmaker. Beginning in 1922, he lived and worked mainly in Paris but regularly visited his hometown Borgonovo to see his family and work on his art.

Alberto Giacometti是20世纪最重要的雕塑家之一。他的作品深受立体主义与超现实主义等艺术风格的影响。关于人类境遇的哲学问题，以及存在主义与现象学的论争，在其作品中占据重要地位。大约1935年，他放弃了超现实主义的影响，转而追求对具象构图的更深刻分析。Alberto Giacometti曾为期刊和展览目录撰写文章，并在笔记本和日记中记录自己的思想与回忆。他批判性的性格导致对自己的作品产生怀疑，认为自己无法实现心中的艺术愿景。尽管如此，这种不安感却成为他一生中强大的艺术驱动力。

Giacometti was one of the most important sculptors of the 20th century. His work was particularly influenced by artistic styles such as Cubism and Surrealism. Philosophical questions about the human condition, as well as existential and phenomenological debates played a significant role in his work. Around 1935 he gave up on his Surrealist influences to pursue a more deepened analysis of figurative compositions. Giacometti wrote texts for periodicals and exhibition catalogues and recorded his thoughts and memories in notebooks and diaries. His critical nature led to self-doubt about his own work and his self-perceived inability to do justice to his own artistic vision. His insecurities nevertheless remained a powerful motivating artistic force throughout his entire life.

1938年至1944年间，Alberto Giacometti的雕塑作品最大高度仅为七厘米（2.75英寸）。其小巧的尺寸反映了艺术家与模特之间的实际距离。对此，他自我批判地表示：“但当我试图凭记忆创作所见之物时，令我惊恐的是，雕塑变得越来越小。”第二次世界大战后，Alberto Giacometti创作了他最著名的雕塑作品：极其高大而纤细的人物雕像。这些雕塑基于他个人的视觉体验——介于一种既虚幻又真实、既触手可及又难以企及的空间之间。在Alberto Giacometti的全部作品中，绘画仅占一小部分。然而，自1957年以后，他的具象绘画作品与其雕塑作品同样引人注目。其晚期创作的近乎单色的绘画作品，并未借鉴现代性的任何其他艺术风格。

Between 1938 and 1944 Giacometti's sculptures had a maximum height of seven centimeters (2.75 inches). Their small size reflected the actual distance between the artist's position and his model. In this context he self-critically stated: "But wanting to create from memory what I had seen, to my terror the sculptures became smaller and smaller". After World War II, Giacometti created his most famous sculptures: his extremely tall and slender figurines. These sculptures were subject to his individual viewing experience—between an imaginary yet real, a tangible yet inaccessible space.In Giacometti's whole body of work, his painting constitutes only a small part. After 1957, however, his figurative paintings were equally as present as his sculptures. The almost monochrome paintings of his late work do not refer to any other artistic styles of modernity.