Loading ...
Sorry, an error occurred while loading the content.

Re: Giacocometti

Expand Messages
  • 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 1 of 2 , Nov 4, 2004
    • 0 Attachment
      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
    Your message has been successfully submitted and would be delivered to recipients shortly.