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Giacocometti

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  • bhvwd
    My favorite art dealer is always on the look for giacocometti`s work. She recently found two statues from an artist in Texas. There is a male and female
    Message 1 of 2 , Nov 4, 2004
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      My favorite art dealer is always on the look for giacocometti`s
      work. She recently found two statues from an artist in Texas. There
      is a male and female figure which both display the original artists
      style of ultra thin, distorted features. The artist repeatedly
      redid his work while keeping its rough hughn surfaces and
      stretched, elongated form. It was said the artist redid the works
      because he felt that all had changed during the creation of the
      work. He refused to accept the static and saw art and life as a flux
      with forced continuum. His figures were left gaunt and blasted as
      if standing in a hurricane wind. The symbolism of man , alone, in a
      non caring envoronment, denotes modern man in a philosophical and
      physical world that requires extreme will and courage. His figures
      are often in pointing or non classical poses. They give a sense of a
      future as yet unseen or a quiet waiting for direction.
      His female figure has been disarmed like the Venus de Milo. She
      has a feminine figure but her head mimics the blasted emaciation of
      her mate.
      When I view them I feel lonely and proud. They stand tall, looking
      for their best opportunity. Bill
    • louise
      My memory isn t so much a sieve, as a chaotic collage with the stitching ripped in places, creating rents, tears, and whacking great holes. So here I sit
      Message 2 of 2 , Nov 4, 2004
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        My memory isn't so much a sieve, as a chaotic collage with the
        stitching ripped in places, creating rents, tears, and whacking
        great holes. So here I sit looking at a beautiful catalogue, not
        apparently dated, produced by the Peter Stuyvesant Foundation to
        accompany an exhibition of Rodin and his Contemporaries. My best
        guess is that I visited and viewed the exhibits, somewhere in uphill
        Lincoln, in the early 1980s. That magnificent Statue of Balzac - I
        was going to say, what a massy, polarised contrast with the work of
        Giacometti, but that may be too external a view ...
        Very interesting is the double page given over to Auguste Renoir
        (1861-1929):
        'It was towards the end of his life that Renoir, that most famous of
        Impressionist painters, turned to sculture. The man who was central
        to the Impressionists and a friend of other artists like Sisley and
        Claude Monet, had to find a medium to translate his ideas into
        sculpture for he was crippled with rheumatism. That medium was a
        young Italian sculptor - Guino. A pupil of Maillol, he accomplished
        the difficult and delicate task of translating Renoir's thoughts and
        conceptions into an art form with perhaps the most famous piece
        being "Venus" and the "Judgment of Paris".'
        Just two sculptues are depicted: 'The washerwoman, 1917 - 35.5cm.'
        and 'Bust of Paris, 1915 -76cm.' Looking at the photo of the
        latter, I feel quite churned up in a calm manner, not a familiar
        feeling. Epic myth, statuary of Periclean Athens, early twentieth
        century Celto-Gallic sensibility, what a lineage .... and I could be
        embarrassed about such blurred criticism, but, what's the point?
        Louise

        --- In existlist@yahoogroups.com, "bhvwd" <v.valleywestdental@m...>
        wrote:
        >
        > My favorite art dealer is always on the look for giacocometti`s
        > work. She recently found two statues from an artist in Texas.
        There
        > is a male and female figure which both display the original
        artists
        > style of ultra thin, distorted features. The artist repeatedly
        > redid his work while keeping its rough hughn surfaces and
        > stretched, elongated form. It was said the artist redid the
        works
        > because he felt that all had changed during the creation of the
        > work. He refused to accept the static and saw art and life as a
        flux
        > with forced continuum. His figures were left gaunt and blasted as
        > if standing in a hurricane wind. The symbolism of man , alone, in
        a
        > non caring envoronment, denotes modern man in a philosophical and
        > physical world that requires extreme will and courage. His
        figures
        > are often in pointing or non classical poses. They give a sense of
        a
        > future as yet unseen or a quiet waiting for direction.
        > His female figure has been disarmed like the Venus de Milo. She
        > has a feminine figure but her head mimics the blasted emaciation
        of
        > her mate.
        > When I view them I feel lonely and proud. They stand tall,
        looking
        > for their best opportunity. Bill
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