 贾科梅蒂
作品介绍
An undisputed masterpiece of Giacometti's sculpture, L'Homme
qui marche I is also one of the most iconic images of Modern art.
It represents the pinnacle of Giacometti's experimentation with the
human form, combining a monumental, imposing size with a rich
rendering of the surface. Capturing a transient moment in the
figure's movement, Giacometti created both a humble image of an
ordinary man, and a potent symbol of humanity.
The present work is the first of two versions of L'Homme qui
marche, executed in 1960, at the highpoint of Giacometti's mature
period. By this time, the image of a standing or walking human
figure was established as pivotal to the artist's iconography.
Between 1947 and 1950 Giacometti made several sculptures on the
subject of the walking man, alone or in a small group positioned on
a platform suggestive of a city square (fig. 3). Never before,
however, had he tackled this image on a monumental scale.
Giacometti's lean, wiry figures reached their ultimate form during
this period. No longer interested in recreating physical likenesses
in his sculptures, the artist began working from memory, seeking to
capture his figures beyond the physical reality of the human form.
In the years after the Second World War his figures were reduced to
their bare essential form, displaying an austerity that embodied
the artist's existentialist concerns, and reflecting the lonely and
vulnerable human condition.
The sculpture originated as part of the public project that
Giacometti was commissioned to do for the Chase Manhattan Plaza in
New York, which, when completed, was to be the first modernist
outdoor project in the city's financial district. While the
installation was never completed, L'Homme qui marche I became an
iconic work in its own right. A committee consisting of curators
and major figures from principal public museums in New York and
Boston selected Giacometti over Alexander Calder and Isamu Noguchi
for the project. Given Giacometti's fascination with the theme of
city squares, as well as his high international acclaim, he was
perhaps the obvious choice for this commission. According to James
Lord, the artist 'was immediately responsive to the American
proposal. It is true that he felt a keen nostalgia for the idea of
executing a sculpture to be placed in a city square, and that the
theme of people seen either singly or in groups in urban
environments had long been important to him. [...] Alberto wrote to
his mother of the project. It interested him passionately, he said'
(J. Lord, Giacometti. A Biography, New York, 1983, pp.
377-378).
Christian Klemm explained the genesis of this project: 'In
1956 Gordon Bunshaft, the architect of the headquarters of the
Chase Manhattan Bank, invited Giacometti to design a group of
sculpted figures for the plaza on Pine Street in New York City. His
suggestion that the Three Walking Men of 1949 could be enlarged to
a height of nearly sixty feet was hardly likely to find favour with
an artist for whom questions of dimension were a central issue. But
after lengthy deliberations Giacometti proposed a group of
larger-than-life-size sculptures: a standing woman, a walking man,
and a head on a pedestal, representing the three major themes that
almost exclusively occupied him in his mature sculptural work. He
made tiny models and started, in his cramped studio, to work on a
number of variants for the large figures. In 1960 a head, four
different women, and two variants of the Walking Men were cast,
albeit without ever arriving at their ultimate destination' (C.
Klemm in Alberto Giacometti (exhibition catalogue), The Museum of
Modern Art, New York & Kunsthaus, Zurich, 2001-02, p.
232).
In preparation for the Chase Manhattan project, Giacometti
executed a number of sculptures, among which, according to the
sculptor, were at least forty versions of the walking man. However
Giacometti destroyed most of them, and only seems to have been
satisfied with the two versions that remain today – L'Homme qui
marche I and II. He struggled with the project as a whole, claiming
later: 'I had practically no feelings about how they should be
grouped' (A. Giacometti in David Sylvester, Looking at Giacometti,
London, 1994, p. 228). Realising that it would take him many years
to complete, Giacometti eventually abandoned the project, however
he was evidently satisfied with the individual figures, which he
had cast in bronze and exhibited. A cast of L'Homme qui marche I
was first exhibited at the Venice Biennale in 1962.
Giacometti paid significant attention to the modelling of his
works, and L'Homme qui marche I exhibits a vibrancy and vitality
unique to his sculpture. The rich treatment of the bronze, its deep
recesses and moulds, create a dynamic surface, and invite a play of
light and shadow in such a way that they become a part of the work
itself. As Valerie J. Fletcher observed: 'Although the sculpture's
eyes are almost on the viewer's level, the figure remains
essentially remote, staring out at an unseen goal. With its
gnarled, devastated surfaces, Walking Man I stands as a symbol of
humanity always striving, ever seeking, never at peace. The roughly
modeled surfaces shimmer under different light conditions, as if
indicating the transient nature of reality, and the figure's
nervous energy activates the surrounding space' (V. J. Fletcher,
Alberto Giacometti (exhibition catalogue), Hirshhorn Museum and
Sculpture Garden, Washington, D.C. & San Francisco Museum of
Modern Art, San Francisco, 1988-89, p. 218).
Other casts of L'Homme qui marche I are now in major public
collections, such as the Carnegie Institute Museum of Art,
Pittsburgh; Fondation Maeght, St. Paul-de-Vence and the
Albright-Knox Art Gallery, Buffalo. Casts of L'Homme qui marche II
are in the National Gallery of Art, Washington D.C.; the
Kröller-Müller Museum, Otterlo; Fondation Beyeler, Basel (fig. 2);
the Louisiana Museum of Modern Art, Humlebaek, Denmark; the Art
Institute of Chicago; the Herbert F. Johnson Museum, Cornell
University, Ithaca, New York, and Fondation Maeght, St.
Paul-de-Vence.
Alberto Giacometti at the Fondation Marguerite et Aimé Maeght,
St. Paul-de-Vence, in the mid-1960s
Fig. 1, Giacometti in his studio, working on L'Homme qui
marche. Photograph by Ernst Scheidegger
Fig. 2, Alberto Giacometti, L'Homme qui marche II, 1960,
bronze, Fondation Beyeler, Basel
Fig. 3, Alberto Giacometti, La Place, 1948, bronze, The Museum
of Modern Art, New York
Fig. 4, Giacometti installing his sculptures at the Galerie
Maeght, Paris, 1961. Photograph by Henri Cartier-Bresson
参考译文
作为贾科梅蒂雕塑无可争议的杰作，《行走的男人I》也是现代艺术最具标志性的形象之一。它代表了贾科梅蒂对人体形体进行实验的巅峰之作，将巨大的巨大尺寸与丰富的表面渲染相结合。捕捉到人物运动中的瞬间瞬间，贾科梅蒂创造了一个普通人的谦逊形象，以及人性的强大象征。
目前的作品是《行走的男人》的两个版本中的第一个，创作于1960年，在贾科梅蒂成熟时期的最高点。到了这个时候，站立或行走的人物形象被确定为艺术家的肖像画的关键。1947年至1950年间，贾科梅蒂制作了几个关于行走者主题的雕塑，单独或在一个位于平台上的小团体（城市广场）（图3）。然而，他从未以巨大的规模解决这个问题。在此期间，贾科梅蒂的精瘦，有力的数字达到了最终状态。艺术家不再对在他的雕塑中再现物质形象感兴趣，而是开始从记忆中开始工作，寻求将他的人物捕捉到超越人类形态的物理现实。在第二次世界大战后的几年里，他的数字被简化为基本形式，
该雕塑起源于贾科梅蒂受委托为纽约大通曼哈顿广场做的公共项目的一部分，该项目一旦完成，将成为该市金融区的第一个现代化户外项目。安装从未完成，《行走的男人I》它本身就成了一个标志性的作品。由策展人和来自纽约和波士顿的主要公共博物馆的主要人物组成的委员会选择了亚历山大·考尔德和Isamu
Noguchi的贾科梅蒂项目。鉴于贾科梅蒂对城市广场主题的迷恋，以及他的高度国际赞誉，他可能是这个委员会的明显选择。根据詹姆斯·洛德的说法，这位艺术家立刻回应了美国的提议。确实，他对在城市广场上放置雕塑的想法表现出浓厚的怀念，而且在城市环境中单独或成群地看到人们的主题对他来说一直很重要。[...]
Alberto写信给他母亲的项目。他热情地对他感兴趣，他说'（J。Lord，Giacometti。传记，纽约，1983年，第377-378页）。
Christian Klemm解释了这个项目的起源：'1956年，大通曼哈顿银行总部的建筑师Gordon
Bunshaft邀请贾科梅蒂为纽约松树街的广场设计一组雕刻人物。他的建议是三个步行者1949年可以扩大到近60英尺的高度几乎不可能找到一个艺术家的青睐，因为维度的问题是一个核心问题。但经过长时间的考虑，贾科梅蒂提出了一组超过真人大小的雕塑：一个站立的女人，一个行走的男人，一个基座上的头，代表了他在成熟的雕塑作品中几乎完全占据他的三大主题。他制作了一些小模特，并在他狭窄的工作室里开始为大型人物制作各种款式。1960年，一个头，四个不同的女人和两个变形的行走男人被铸造，虽然没有到达他们的终极目的地'（C.
Klemm in Alberto Giacometti（展览目录），现代艺术博物馆，纽约和Kunsthaus
，苏黎世，2001-02，第232页）。
为了准备大通曼哈顿计划，贾科梅蒂执行了许多雕塑，其中根据雕塑家的说法，至少有四十个版本的行走者。然而，贾科梅蒂摧毁了他们中的大部分，并且似乎只对今天仍然存在的两个版本感到满意--L'Homme
qui marche I和II。他整个项目都在挣扎，后来声称：“我几乎没有关于如何分组的感受”（A. Giacometti在David
Sylvester，看着Giacometti，伦敦，1994年，第228页）。贾科梅蒂意识到需要很多年才能完成，最终放弃了这个项目，但他显然对个人形象感到满意，他曾用青铜铸造并展出。《行走的男人I》于1962年首次在威尼斯双年展上展出。
贾科梅蒂非常注重他作品的造型，《行走的男人I》展现了他的雕塑独特的活力和活力。对青铜，深凹槽和模具的丰富处理，创造了一个动态的表面，并邀请光影的发挥，使它们成为工作本身的一部分。正如Valerie
J.
Fletcher所说：“虽然雕塑的眼睛几乎都在观众的视线范围内，但这个人物基本上处于遥远状态，盯着一个看不见的目标。随着它的粗糙，破坏的表面，行走的人我作为人类的象征始终是奋斗，永远追求，永不和平。大致模拟的表面在不同的光线条件下闪烁，仿佛表明了现实的瞬态特征，并且人物的神经能量激活了周围的空间'（VJ
Fletcher，Alberto
Giacometti（展览目录），Hirshhorn博物馆和雕塑花园，华盛顿特区和旧金山现代艺术博物馆，旧金山，1988-89，第218页）。
《行走的男人I》的其他演员现在主要公共收藏品，如匹兹堡的卡内基艺术博物馆;
Maeght基金会，St。Paul-de-Vence和布法罗的Albright-Knox美术馆。《行走的男人II》的位于华盛顿特区的国家美术馆;
Otterlo的Kröller-Müller博物馆; 巴塞尔Beyeler基金会（图2）;
丹麦Humlebaek的路易斯安那现代艺术博物馆; 芝加哥艺术学院;
赫伯特·约翰逊博物馆，康奈尔大学，伊萨卡，纽约和圣保罗基金会，圣保罗德旺斯。
阿尔贝托·贾科梅蒂（Alberto
Giacometti）在20世纪60年代中期在圣保罗德万斯基金会Marguerite和AiméMaeght举行的基金会
图1，Giacometti在他的工作室，在L'Homme qui marche工作。摄影：Ernst
Scheidegger
图2，Alberto Giacometti，L'Homme qui marche
II，1960，青铜器，Beyeler基金会，巴塞尔
图3，Alberto Giacometti，La Place，1948，青铜，纽约现代艺术博物馆
图4，Giacometti在1961年巴黎Galerie Maeght安装他的雕塑。摄影：Henri
Cartier-Bresson
画家简介
作品资料
Alberto Giacometti
L'HOMME QUI MARCHE I
Estimate
LOT SOLD. 65,001,250 GBP
IMPRESSIONIST & MODERN ART EVENING SALE
03 FEBRUARY 2010 | 7:00 PM GMT
LONDON
inscribed Alberto Giacometti, numbered 2/6 and with the
foundry mark Susse Fondeur Paris
bronze
height: 183cm.
72in.
Executed in 1960 and cast in bronze in a numbered edition of 6
plus 4 artist's proofs. The present work was cast in 1961 and is a
life-time cast.
The authenticity of this work has been confirmed by the
Giacometti Committee working under the authority of the artist's
moral right and will be published in the catalogue raisonné
prepared by the Fondation Alberto et Annette Giacometti.
The authenticity of this work has also been confirmed by Mary
Lisa Palmer.
PROVENANCE
Galerie Maeght, Paris (acquired from the artist)
Sidney Janis Gallery, New York (acquired from the above in
December 1961)
Mr & Mrs Isidore M. Cohen, New York (acquired in
1962)
Dr Milton Ratner, New York
Sidney Janis Gallery, New York (acquired in 1980)
Dresdner Bank AG, Frankfurt (acquired from the above in
1980)
Acquired from the above by the present owner
展览历史
New York, Sidney Janis Gallery, Exhibition of Painting &
Sculpture by Giacometti and Dubuffet, 1968, no. 13, illustrated in
the catalogue (titled Great Walking Figure)
New York, Sidney Janis Gallery, Giacometti, 1976, no. 16,
illustrated in the catalogue
New York, Sidney Janis Gallery, Masters in 20th Century Art,
1979
Dresdner Bank, Frankfurt (on public display from circa 1980
until 2009)
Frankfurt, Museum für Moderne Kunst, Szenenwechsel XIV,
1998-99, no. 334, illustrated in colour in the catalogue
Berlin, Kunsthalle Koidl, Kunstsammlung Dresdner Bank, 2008,
illustrated in colour in the catalogue
相关文献
Carlo Huber, Alberto Giacometti, Zurich, 1970, illustration of
another cast p. 71
Axel Matthes (ed.), Louis Aragon mit anderen, Wege zu
Giacometti, Munich, 1987, no. 11, illustration of another cast p.
53
Herbert & Mercedes Matter, Giacometti, New York, 1987,
illustration of another cast p. 150
Tahar Ben Jelloun, Alberto Giacometti, Paris, 1991,
illustration of another cast p. 3
Yves Bonnefoy, Alberto Giacometti, biographie d'une œuvre,
Paris, 1991, no. 390, illustration of another cast p. 409
Ernst Scheidegger, Traces d'une amitié, Alberto Giacometti,
Paris, 1991, illustration of another cast p. 146
Andreas Bee, Zehn Jahre Museum für Moderne Kunst, Frankfurt,
2003, illustrated in colour p. 334
Behind the Mirror: Aimé Maeght and his Artists (exhibition
catalogue), Royal Academy of Arts, London, 2008-09, illustration of
the cast in the Fondation Maeght p. 131
'Walking Man I stands as a symbol of humanity always striving,
ever seeking'
Valerie J. Fletcher
阴山工作室
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