Word: giacometti
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There were precedents for this, like Alberto Giacometti's floor sculpture of 1932, Woman with Her Throat Cut, which anticipates Caro so thoroughly that it is difficult to believe Curator Rubin's claim, in his long and other wise formidably reasoned catalogue essay, that it "had no direct influence" on him. But in the '60s Caro's horizontality was liberating. Floating, perky, mass denying, bland of surface, sprightly in color-how refreshing it all looked after the bronze rhetoric of what Herbert Read called "the geometry of fear...
...ORGANIZERS of the M.I.T. exhibit have deliberately chosen works that reveal the range and variety of Brassai's interests. There are scenes of Paris at night and portraits of Brassai's friends and fellow artists--Picasso, Braque, Matisse, Giacometti--surrounded in their studios by their paintings and tools. Several examples of Brassai's graffiti, pictures of the signs and symbols men have carved into or painted on the urban environment to proclaim their existence, are shown...
...sense of family as that of cultural choice. The Guggenheim's retrospective opens with a separate exhibition - also funded by a grant from the Alcoa and Pro Helvetia Foundations - entitled Three Swiss Painters. This is the first detailed look the U.S. public has had at the work of Giacometti's family circle of gifted painters, who surrounded him with protective confidence. They are his godfather Cuno Amiet (1868-1961), his cousin Augusto Giacometti (1877-1947), and his father Giovanni (1868-1933), a forceful colorist who in 1915 recorded the 14-year-old Alberto's intense features...
...work of Amiet and Augusto Giacometti, in particular, comes as a revelation. Augusto Giacometti seems to be one of the claimants to the honor of having produced the first deliberately abstract works of art. His wavy-edged pastel, Abstraction After a Stained-Glass Window in the Cluny Museum, dates from 1900, fully a decade before the mutual creation of abstract art by Larionov, Kupka, Kandinsky and Arthur Dove. Amiet's work, though less aggressively avantgarde, is also of more than parochial quality. After his early apprenticeship with Gauguin's disciples in the Pont-Aven group, he never lost...
...these two shows constitute an instructive journey through the achievements of a guild-like family whose work traversed nearly all the reigning styles of European art, from symbolism through post-impressionism to cubism, and thence, in Alberto Giacometti's work, through surrealism and out the other side. It is a salutary lesson in what commitment to art as a discipline can mean and how it differs from the facile professionalism with which, all too often, we are stuck today...