Tate Modern: Giacometti Exhibition
The famous Swiss sculptor Alberto Giacometti was given a retrospective at Tate Modern, comprising of his distinctive sculptural masterpieces, oil paintings and sketches. His role in the art world seemed set from the beginning. His father was an artist and he served as his model before creating his own work. His early work included various Surrealist sculptures such as 'Woman with her Throat Cut' - a praying mantis like figure wriggling in pain with her spiked leaf like ribs dropped to the floor.
Sketches of Woman with her Throat Cut
There is a definite primitive influence in his work, most notable in his acclaimed elongated stylised sculptures of human beings. Many of the exaggerated figures appear black, their bobbled skin resembling charred fleshy remains that constantly threaten to crumble. Their slender spindly bodies thin in places, making them appear delicate and vulnerable. If it weren't for their bronze frames, there would be a danger of them snapping or toppling over. If these sculptures were to be flattened onto canvas, they would closely resemble the dancing figures found on cave walls. Giacometti did not stray too far from his craft, as a result created a vast amount of sculptures, many of which could be seen at the exhibition. Even when put together, the figures stand awkwardly apart, uncomfortable with their own existence, let alone content in another's company.
However, his unique style was not favored by the Surrealists who subsequently expelled him from the movement, deeming his work to be better suited to Realism. There is a great sadness to his work that lends itself to the idea of portraying reality, rather than dreams and the subconscious. His dark mood seems to violently shape his figures with an intense determination to bring them to the foreground, though their body language suggests they would prefer to remain in the shadows. A famous work of his entitled 'Le Chien' depicts an unloved street dog, its head bowed low in misery, a withered unkept body propped up by its twig-like legs, starved of love or affection yet it carries on regardless. Is it in hope of a better life? Or until it ultimately succumbs to exhaustion?
Giacometti mainly used his family and friends for his portraits and busts. One room in the exhibition features his most dedicated sitters: his brother Diego and wife Annette. It is possibly due to his constant re-working, re-moulding and his strict regulations that had his models sitting absolutely still for hours. His 'Bust of Diego' has been flattened, as if at the last minute he squeezed the sides of his head and neck together, while his 'Bust of Annette' is more realistic in its proportion. Their skin is ravaged by harsh scratches and deep indentations, almost like emotional scars that have been brought to the surface.
Sketches of 'Bust of Diego' and 'Bust of Annette'
His paintings closely resemble the sculptures, layered with harsh linear brushstrokes with thin disproportioned heads. He had no interest in their background or environment, the focus is entirely on the person. His subjects seem tired and disillusioned, their faces emaciated and made up of creases and ripples, their eyes and cheekbones hollow.
Having only known about his sculptures, being able to see his portraits was a pleasant surprise given that his style of painting is similar to our own. We were also ignorant of his cubist and surrealist roots that were practiced in a number of sketches on display. His sculptures still remain his standout pieces for us. Such desolate beings, stretched out as if thin trees with skin textured like bark. The exhibition brought to light aspects in his work that we were previously unaware of. Themes that are hard to miss when you are confronted by the pieces, senses that are impossible to translate in a photograph.
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