Word: giacomettis
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...howling winds of life, a man strides past another on a barren pedestal. Both figures are skeletal, their contours a last frontier against nothingness. Both, despite their perilous proximity, seem abandoned in a void. But they exist. This is the main and master image in the art of Alberto Giacometti. It is his desperate, yet defiant picture of mankind, a symbol of the mid-20th century crisis of humanism-and the likeness of Giacometti himself...
Bond & Bonnard. By far the most spectacular space within the building is the penthouse where the bachelor baron, as head of the house of Lambert, lives alone. Broad reception halls and dining rooms convert from business luncheons at noon to formal dinners at night. Strolling through suites studded with Giacometti's lean bronzes, through rooms where Picassos and Mirós alter nate with Bonnards and Rouaults into his big library, the baron likes to wink roguishly as he touches a hidden button that causes the book-lined wall to swing back, revealing a glass-sheathed bedroom with...
...Vence and commanding one of the most breathtaking views on the entire coast, the new museum is a gift to France from Paris Art Dealer Aimé Maeght (rhymes with jog). Having made a fortune in the postwar boom selling the works of Chagall, Miró, Kandinsky, Braque and Giacometti, Maeght decided to enlist his artists' aid in building a showcase for their paintings and sculptures. Thus Giacometti was able to help plan the ideal courtyard for his wasted bronze figures, which today are in the open air looking like ghosts out for a stroll. Alexander Calder contributed...
During the opening week, Parisians were agog at Marisol's painted wooden beach group and George Segal's plaster Woman in a Restaurant Booth. Giacometti came, stared at Mark di Suvero's jumble of wood beams titled Champion, and exclaimed, "That frightens me!" At the vernissage, César, France's leading sculptor of crushed cars, cast an evil eye on his U.S. competitor, John Chamberlain, but hailed the rest: "We feel much more affinity with America than with the School of Paris...
Elephantiac Foot. Giacometti's search is for the man within the graven image. "Heads, heads, heads!" he cries. "I've been doing nothing but heads for years. I'm no farther along than when I did my first bust at 13. Nothing I do will ever be finished, everything remains just another study." The sculptor maligns himself. Actually, his figures, singly and in groups, stand in ever more complex relationships. Increasingly, he has become discontent to leave his bronzes bare, painting their stark silhouettes as if providing the emperor's new clothes. Scale, too, remains...