艺术家 | Fondation Giacometti
2024-11-06 19:00
中国香港
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阿尔贝托·贾科梅蒂是20世纪最重要的雕塑家之一。他的作品深受立体主义与超现实主义等艺术风格的影响。关于人类境遇的哲学问题，以及存在主义与现象学的论争，在他的作品中占据了重要地位。大约在1935年，他摒弃了超现实主义的影响，转而追求对具象构成的更深层次分析。贾科梅蒂曾为期刊和展览目录撰写文章，并在笔记本和日记中记录自己的思考与回忆。他批判性的性格导致他对自己的作品产生自我怀疑，并认为自己无法充分实现自己的艺术愿景。尽管如此，这种不安全感在他的一生中始终是一种强大的艺术驱动力。
Giacometti was one of the most important sculptors of the 20th century. His work was particularly influenced by artistic styles such as Cubism and Surrealism. Philosophical questions about the human condition, as well as existential and phenomenological debates played a significant role in his work. Around 1935 he gave up on his Surrealist influences to pursue a more deepened analysis of figurative compositions. Giacometti wrote texts for periodicals and exhibition catalogues and recorded his thoughts and memories in notebooks and diaries. His critical nature led to self-doubt about his own work and his self-perceived inability to do justice to his own artistic vision. His insecurities nevertheless remained a powerful motivating artistic force throughout his entire life.
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阿尔贝托·贾科梅蒂在瑞士布雷加利亚山谷长大，该地紧邻瑞士与意大利边境。他的父亲乔瓦尼·贾科梅蒂（1868-1933）是一位备受瑞士藏家和艺术家推崇的印象派画家，经常与阿尔贝托分享对艺术的见解。14岁时，阿尔贝托在父亲的画室里创作了首幅油画《苹果静物》（约1915年）和首件雕塑作品《迪埃戈胸像》（约1914-1915年），其艺术发展深受父亲和教父——象征主义画家库诺·阿米耶（1868-1961）的影响。1922年，他前往巴黎求学，进入大夏米埃尔艺术学院，师从雕塑家安托万·布尔德尔，其裸体素描既体现了这段学徒时期的特色，又显露出立体主义雕塑的影响，如同他最早期的作品一样，可以看到雅克·利普希茨和费尔南·莱热的痕迹。
Alberto Giacometti grew up in the Val Bregaglia alpine valley in Switzerland, just a few kilometers from the Swiss-Italian border. His father, Giovanni Giacometti (1868-1933), an impressionist painter esteemed by Swiss collectors and artists, frequently shared his thoughts on art and its essence with his son. At the age of fourteen, Alberto created his first oil painting, "Still Life with Apples" (circa 1915), and his first sculpted bust, "Diego" (circa 1914-1915), in his father's studio. His artistic development was significantly influenced by his father and his godfather, the Symbolist painter Cuno Amiet (1868-1961). In 1922, Giacometti went to Paris to study at the Académie de la Grande-Chaumière, where he was taught by the sculptor Antoine Bourdelle. His drawings of nudes reflect this apprenticeship period and, like his earliest Cubist sculptures, show the influence of Jacques Lipchitz and Fernand Léger.
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DIEGO / Circa 1914-1915 / PlasterDocumentation Fondation Giacometti, Paris© 阿尔贝托·贾科梅蒂遗产管理会（巴黎贾科梅蒂基金会 + 法国美术著作权协会ADAGP，巴黎）© Succession Alberto Giacometti, (Fondation Giacometti, Paris + ADAGP, Paris)贾科梅蒂的作品显著地受到了非洲和大洋洲雕塑的影响。当他在1926年开始对非洲艺术产生浓厚兴趣时，这种艺术形式对包括毕加索、德兰在内的上一代现代艺术家来说已不再新奇，甚至已普及到成为装饰风格的程度。1927年，他的《勺子女人》和《情侣》两件作品在巴黎杜伊勒里沙龙展出，首次引起了公众的注意，清晰地展示了这次文化碰撞给他带来的深刻影响。随后，在1928年，贾科梅蒂创作了一系列女性和扁平头像作品，这些作品因其创新性而广受赞誉，并为他赢得了与展出超现实主义艺术家作品的皮埃尔·勒布画廊的首份合约。在那些年里，他与《黑人造型艺术》（1915）的作者卡尔·爱因斯坦以及后来的多贡艺术专家米歇尔·莱里斯建立了友谊。这些交往深刻地影响了他的创作，他后来的许多作品，包括杰出的彩绘石膏作品和少量油画，都展现出非西方艺术对他的持久影响。贾科梅蒂逐渐摒弃了自然主义和学院派的表现手法，转而追求一种图腾式、有时甚至狂野的人物视觉表现，充满了神秘的力量。
Giacometti's work reveals the influence of African and Oceanian sculpture. When he developed an interest in African art in 1926, it was no longer a novelty for modern artists of the previous generation, such as Picasso and Derain; it had even been popularized to the extent of becoming decorative. The two works that first garnered public attention for Giacometti were "Spoon Woman" and "The Couple," both exhibited at the Salon des Tuileries in Paris in 1927, illustrating the significant impact of this cultural encounter on the young artist. In 1928, Giacometti embarked on a series of female figures and flat heads, which, due to their novel quality, earned him acclaim in 1929 and led to his first contract with the Pierre Loeb gallery, which showcased Surrealist artists. During those years, Giacometti forged friendships with Carl Einstein, the author of the groundbreaking book on African sculpture, "Negerplastik" (1915), and Michel Leiris, who later became a specialist in Dogon art. Many of his later works, including notable painted plaster pieces and a couple of paintings, demonstrate the lasting influence of non-western art on his creations. The artist increasingly moved away from naturalist and academic representations, embracing a totemic and sometimes wild vision of the human figure, imbued with a magical power.
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阿尔贝托·贾科梅蒂在伊波利特-曼德龙街画室，1927年Alberto giacometti in the studio at rue hippolyte maindron, 1927Documentation Fondation Giacometti, Paris© 阿尔贝托·贾科梅蒂遗产管理会（巴黎贾科梅蒂基金会 + 法国美术著作权协会ADAGP，巴黎）© Succession Alberto Giacometti, (Fondation Giacometti, Paris + ADAGP, Paris)
THE COUPLE / 1927 / BronzeSize：58.3 x 37.4 x 17.5cmDocumentation Fondation Giacometti, Paris© 阿尔贝托·贾科梅蒂遗产管理会（巴黎贾科梅蒂基金会 + 法国美术著作权协会ADAGP，巴黎）© Succession Alberto Giacometti, (Fondation Giacometti, Paris + ADAGP, Paris)贾科梅蒂于1931年加入了安德烈·布勒东的超现实主义运动，并迅速以其罕见的雕塑家身份在布勒东小组中脱颖而出。尽管他在1935年2月被开除出该组织，但超现实主义的创作手法持续在他的艺术作品中占据重要地位，体现在梦幻般的视觉呈现、蒙太奇与拼贴技巧、具有隐喻功能的物件选择，以及对人物形象进行的魔幻处理手法上。早在1929年，《凝视的头部》就引起了超现实主义群体的关注，而1932年创作的《行走的女人》更是为1933年的重要超现实主义展览而构思，其无头无臂的版本还在1936年的伦敦超现实主义展览上展出。此外，名为《凌晨四点的宫殿》的彩绘布景装置也凸显了他梦幻世界中的戏剧性特质。直至1965年，当贾科梅蒂为伦敦回顾展创作《悬浮球》的最终版本，并同时提供一个彩绘版本时，他依然展现了与超现实主义运动不可分割的联系，这一联系延续至今。
Giacometti joined André Breton's Surrealist movement in 1931 and, as an active member of Breton's group, quickly stood out as one of its rare sculptors. Despite being expelled from the movement in February 1935, surrealist procedures continued to play a significant role in his creative work, featuring dreamlike visions, montage and assemblage techniques, objects with metaphorical functions, and a magical treatment of the figure. His sculpture, "The Gazing Head," captured the group's attention in 1929, and "Walking Woman," created in 1932 and conceived as a model for the major Surrealist exhibition of 1933, was featured in the 1936 Surrealist show in London in a version without arms or a head. Additionally, a painted version of the set construction titled "The Palace at 4 a.m." evoked the theatrical aspect of his dreamlike world. In 1965, when Giacometti created a final version of "Suspended Ball" for a retrospective in London and also provided a painted version, he demonstrated how his links with the Surrealist movement continued to endure.
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凝视的头部 / 1929年 / 石膏涂脱模剂，铅笔痕迹GAZING HEAD / 1929 / Plaster coated with a parting compound, pencil tracesDocumentation Fondation Giacometti, Paris© 阿尔贝托·贾科梅蒂遗产管理会（巴黎贾科梅蒂基金会 + 法国美术著作权协会ADAGP，巴黎）© Succession Alberto Giacometti, (Fondation Giacometti, Paris + ADAGP, Paris)贾科梅蒂对实用物件的浓厚兴趣源自他对古代和原始社会实用物品的推崇，这种兴趣在他的装饰艺术品创作中得以体现。1931年，他创造了一种新型雕塑——“可移动的沉默物件”，这些由木匠精心制作的木质作品以潜在且暗示性的方式展现动态，如《令人不快的物件》和《可扔掉的令人不快的物件》一样，与《悬浮球》共同在物件与雕塑之间构建了桥梁，挑战了艺术品的传统地位。在这些雕塑中，他首次运用了“笼子”手法，划定了一个梦幻般的表现空间。自1930年起，贾科梅蒂创作了大量实用物件，包括台灯、花瓶和壁灯，这些作品由前卫室内装饰师让-米歇尔·弗兰克销售。他还为特别委托制作了石膏和赤陶浮雕，其中一些作品是为美国收藏家和巴黎路易-德雷福斯府邸定制的。1939年，他受邀为一对阿根廷收藏家夫妇设计重要作品，包括壁炉、枝形吊灯和壁台桌，这套由让-米歇尔·弗兰克统筹的完整装饰在运往布宜诺斯艾利斯之前，曾在巴黎以1:1的比例进行了展示。战后，贾科梅蒂继续创作其他物件，包括受多贡雕像和埃及丧葬物品启发的台灯，以及为画廊主艾梅·马格特设计的围巾，展现了其创作风格的多样性和持续的创新精神。
The creation of decorative art objects demonstrates Giacometti's fascination with utilitarian objects, which he admired in ancient and primitive societies. In 1931, he introduced a new typology of sculptures known as "mobile and mute objects," crafted from wood by a carpenter and exhibiting movement in a latent, suggestive manner. Pieces like the Disagreeable Object, the Disagreeable Object To Be Thrown Away, and the Suspended Ball bridged the gap between object and sculpture, challenging the established status of artworks. In some of these sculptures, Giacometti utilized the "cage" procedure for the first time, allowing him to delineate a dreamlike space of representation. From 1930 onwards, he produced numerous utilitarian objects such as lamps, vases, and wall lights, which were sold by avant-garde interior decorator Jean-Michel Frank. He also designed plaster and terra cotta bas-reliefs for special commissions, including works for an American collector and the Louis-Dreyfus mansion in Paris. In 1939, Giacometti was commissioned by a couple of Argentinian collectors to create fireplaces, chandeliers, and console tables, becoming one of the artists selected for this major project. The complete décor, coordinated by Jean-Michel Frank, was installed in a life-size model in Paris before being dispatched to Buenos Aires. After the war, Giacometti continued to create other objects, including a lamp inspired by Dogon statuary and Egyptian funerary objects in 1950, and a scarf for his gallerist Aimé Maeght in 1959.
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GAZING HEAD / 1929 / Plaster coated with a parting compound, pencil tracesSize：22.8 x 34.3 x 25.9cmDocumentation Fondation Giacometti, Paris© 阿尔贝托·贾科梅蒂遗产管理会（巴黎贾科梅蒂基金会 + 法国美术著作权协会ADAGP，巴黎）© Succession Alberto Giacometti, (Fondation Giacometti, Paris + ADAGP, Paris)![]()
贾科梅蒂终其一生致力于头部研究，这一课题不仅是其核心研究，也是导致他于1935年被超现实主义群体除名的缘由。彼时，对于他而言，头部表现这一看似平凡的主题仍充满未解之谜，尤其是眼睛，作为人类存在与生命的核心，其神秘性深深吸引着贾科梅蒂。自1933年父亲乔瓦尼去世后，他于1934年创作了《头部-颅骨》，此后，他对头部主题的持续探索与变奏展现了这一课题的无限深度，尤其是当它与比例问题交织时：准确呈现视觉体验，对贾科梅蒂而言，意味着要捕捉并表现观看主体时的距离感。在20世纪30年代，他的头部研究模特包括弟弟迪埃戈、英国艺术家朋友伊莎贝尔（德尔默），以及职业模特丽塔（盖菲耶），其中，伊莎贝尔是他于拉丁区偶遇的身影，激发了他最早期的微型人像创作。1945年从瑞士重返巴黎后，贾科梅蒂再次证明了纪念性与尺寸大小无关，他为艺术赞助人玛丽-劳尔·德·诺阿耶、作家西蒙·德·波伏娃（1941年结识）以及抵抗运动英雄罗尔-唐吉（应阿拉贡之请）创作了小型而富有意义的肖像，进一步彰显了他对头部研究的深刻见解与独特表达。
The issue of the human head was the central subject of Giacometti's research throughout his life, leading to his exclusion from the Surrealist group in 1935. In that year, despite its apparent commonality, the representation of a head remained far from resolved for him. The head, particularly the eyes, fascinated him as the core of human existence and life, embodying a profound mystery. Following the creation of the "Head-Skull" in 1934, inspired by the death of his father Giovanni in 1933, Giacometti explored numerous variations on the theme of heads, revealing its inexhaustible nature, especially when combined with the question of scale. For Giacometti, achieving an exact rendering of his vision also necessitated capturing the distance from which the subject was viewed. In the 1930s, his models for this research included his brother Diego, an English artist friend Isabel (Delmer), and a professional model Rita (Gueyfier), with Isabel, whom he glimpsed from afar in the Quartier Latin, inspiring one of his earliest miniature figurines. Upon his return to Paris from Switzerland in 1945, Giacometti demonstrated once again that monumentality is not contingent upon size, creating small-format portraits of important personalities such as the arts patron Marie-Laure de Noailles, the writer Simone de Beauvoir (whom he met in 1941), and, at Aragon's request, the Resistance hero Rol-Tanguy.
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HEAD OF ISABEL / 1936 / PlaserSize：30.3 x 23.5 x 21.9cmDocumentation Fondation Giacometti, Paris© 阿尔贝托·贾科梅蒂遗产管理会（巴黎贾科梅蒂基金会 + 法国美术著作权协会ADAGP，巴黎）© Succession Alberto Giacometti, (Fondation Giacometti, Paris + ADAGP, Paris)
在二战期间的瑞士，贾科梅蒂于1944-1945年间构思了他的战后立式人像原型作品《带轮车的女人》，这是凭记忆塑造的英国友人伊莎贝尔的形象。从1945年至1965年，他对表现空间进行了深入探索，立式人像雕塑便是其中的杰出代表，这些人像正面而立，双臂紧贴身体，面容冷漠。他运用两种方法处理空间：一种是将人像置于底座之上，与地面分离；另一种则是将其置于“笼子”中，创造出虚拟空间。例如，《林中空地》等作品被放置在高于基座的平面上，也是为了构建出一个与我们平行的空间。这些立式女性人像以暗示性的轮廓呈现，有时甚至被简化为一条线，始终通过系列作品的连续阶段来逐步展现。此外，《底座上的四个女人》和《支架上的四个小人像》体现了艺术家在不同情境下远距离观察四个站立女性的两种不同视觉体验。而在《行走的三个男人》中，贾科梅蒂试图捕捉运动中人物的瞬间状态。1950年，他创作了一系列雕塑，展现了一个林中空地的景象，其中树木被塑造成女人，石头则化作男人的头部，这一意象后来被他发展到极致，创作成了真人大小的作品。
It was in Switzerland, during the Second World War, that Giacometti conceived the sculpture "Woman with Chariot" in 1944-45, which served as the prototype for his postwar standing figures. This sculpture, depicting his English friend Isabel from memory, exemplifies Giacometti's research on the space of representation between 1945 and 1965. The standing figure, facing forward with arms beside the body and an expressionless face, was either placed on pedestals isolating it from the ground or incorporated into "cages" creating a virtual space. Some compositions, like "The Glade," were positioned on raised flat surfaces above pedestal level to establish a space parallel to ours. The standing female figures, presented as allusive silhouettes sometimes reduced to a line, were invariably approached through successive phases conveyed by series. "Four Women on a Base" and "Four Figurines on a Stand" materialize two visions of four standing women seen from a distance in different circumstances. In "Three Men Walking," Giacometti attempted to capture the fleeting sight of figures in motion in sculpture. In 1950, he created a series of sculptures depicting a clearing where trees were sculpted as women and stones as men's heads, an image he later pushed to its extreme in a life-size piece.
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阿尔贝托·贾科梅蒂手持《大底座上行走的三个人I》，1948年Alberto giacometti holding three man walking i (large base), 1948Documentation Fondation Giacometti, Paris© 阿尔贝托·贾科梅蒂遗产管理会（巴黎贾科梅蒂基金会 + 法国美术著作权协会ADAGP，巴黎）© Succession Alberto Giacometti, (Fondation Giacometti, Paris + ADAGP, Paris)THE FOREST / 1950 / BronzeDocumentation Fondation Giacometti, Paris© 阿尔贝托·贾科梅蒂遗产管理会（巴黎贾科梅蒂基金会 + 法国美术著作权协会ADAGP，巴黎）© Succession Alberto Giacometti, (Fondation Giacometti, Paris + ADAGP, Paris)在贾科梅蒂的艺术世界中，局部总能唤起整体，视象在观者的空间中缓缓铺陈开来。1921年与1946年，他两次直面死亡，这些经历在他心中刻下了永恒的烙印。第一次，在临终者的床前，他凝视着那似乎随着生命消逝而逐渐拉长的鼻子，陷入了深深的沉思。第二次，面对逝者的遗体，那后仰的头颅、微张的唇、瘦骨嶙峋的肢体，以及弥漫的死亡恐惧，如同一只手随时可能穿墙而来的恐怖幻象，缠绕着他。自此，虚空中漂浮的头颅幻象便如影随形，驱使他执着地通过雕塑捕捉这些虚实交织的影子。自少年时代起，人的凝视便令他着迷，而在经历了这些生死瞬间后，“生命寄居于眼眸之中”的感受愈发强烈。回忆往昔，他曾说：“当一个人站在我面前两三码远的地方，我无法同时看清他的眼睛、手和脚，但凝视的那一刹那，却能让我感受到整个存在的真实。”
Giacometti's work examines the part as an evocation of the whole, allowing a vision to emerge in the spectator's space. In 1921 and 1946, he witnessed two deaths that left an indelible mark on him. At the bedside of the first dying person, he was fascinated by the nose that seemed to grow longer as life ebbed away. In front of the second corpse, he was haunted by the memory of the head tipped backwards, the open mouth, the skeletal limbs, and the overwhelming terror of the dead being everywhere, as if its hand might pass through the walls and reach him. Pursued by visions of heads suspended in the void, he strived to capture these ethereal images in his sculptures. Since boyhood, he had been fascinated by the human gaze, and the belief that life resides in the eyes was now intensified. Reflecting on those years, he declared, "I cannot simultaneously see the eyes, the hands, and the feet of a person standing two or three yards in front of me, but the single part that I do focus on evokes a sensation of the existence of everything."
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JEAN-PAUL SARTRE LEANING ON HIS ELBOW / Circa 1952 / Oil on canvasDocumentation Fondation Giacometti, Paris© 阿尔贝托·贾科梅蒂遗产管理会（巴黎贾科梅蒂基金会 + 法国美术著作权协会ADAGP，巴黎）© Succession Alberto Giacometti, (Fondation Giacometti, Paris + ADAGP, Paris)1941年，贾科梅蒂结识了哲学家让-保罗·萨特，后者于1948年和1954年发表了两篇对艺术家作品进行深入阐释的关于感知问题的重要文章。同样具有深远意义的是他与萨特的日本翻译家、哲学教授柳内原勇的对话，柳内原勇在1956年至1961年间多次担任贾科梅蒂的模特。1948年，法国政府为表彰法国知识分子和艺术家，曾委托贾科梅蒂设计一枚致敬让-保罗·萨特的奖章，尽管这枚奖章最终未能铸造，但设计草图得以保存。从1951年直至辞世，贾科梅蒂创作了一系列“暗色头像”，这些作品与一些无名的雕塑头像一起，为“普遍人”概念赋予了具象的形式。萨特在1964年的小说《词语》中用一句话概括了这一理念：“一个完整的人，由所有人构成，值得所有人，而任何一个人都与他等值。”这成为了贾科梅蒂对二十世纪肖像艺术史最精粹的贡献。
In 1941, Giacometti met philosopher Jean-Paul Sartre, who authored two pivotal essays on the artist's work, published in 1948 and 1954, addressing the issue of perception. Equally significant were his conversations with Sartre's Japanese translator and philosophy professor, Isaku Yanaihara, who served as Giacometti's model between 1956 and 1961. In 1948, the French state, eager to honor French intellectuals and artists, commissioned Giacometti to design a medal dedicated to Sartre, although it was never produced; however, the design drawings survive. Between 1951 and his death, Giacometti created a series of "dark heads," which, alongside some anonymous sculpted heads, gave concrete form to the concept of the "generic man." Sartre later summarized this idea in his 1964 novel Les mots: "A whole man, made of all men, worth all of them, and any one of them worth him." This represents Giacometti's most essential contribution to the history of portrait art in the 20th century.
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倚肘的让-保罗·萨特 / 约1949年 / 纸本铅笔擦改ANNETTE / Circa 1949 / Pencil reworked with eraser on paperDocumentation Fondation Giacometti, Paris© 阿尔贝托·贾科梅蒂遗产管理会（巴黎贾科梅蒂基金会 + 法国美术著作权协会ADAGP，巴黎）© Succession Alberto Giacometti, (Fondation Giacometti, Paris + ADAGP, Paris)贾科梅蒂的肖像作品，无论是绘画还是雕塑，都深刻诠释了模特作为永远无法被完全掌握的“他者性”。他摒弃了对模特情感与表情的细致刻画，使这些肖像成为观者自我投射与审视的容器。贾科梅蒂致力于捕捉并呈现模特生命的内在振动，而非他们的心理状态。在他的笔下，即便是他母亲的厨师丽塔，也超越了社会身份的束缚，展现出祭司般的庄严。他偏爱以身边的亲近之人为模特，如1949年结为连理的妻子安妮特，以及作为助手并见证其艺术深潜的兄弟迪亚哥。在创作时，他或是凭借记忆在想象的空间中重塑他们的形象，或是在写生时舍弃传统透视法，根据个人视觉经验重构模特的姿态，使之呈现出破碎、变形却充满活力的特质。模特的特征在作品中时而消融、时而融合，最终提炼出其本质。此外，贾科梅蒂还为一些愿意长时间摆姿势的临时模特作画，如英国实业家兼收藏家罗伯特·森斯伯里爵士、知识分子葆拉·卡罗拉-托雷尔，以及艺术家皮埃尔·若斯。每一次的写生都会激发出一系列新的知觉体验，他试图通过笔触将其捕捉并构建。例如，性格复杂且与罪犯有交往的卡罗琳，自1960年起成为他的模特，在她的肖像作品中，贾科梅蒂展现了三种截然不同的形象：遥远的女神、危险而图腾化的形象，以及具有雕塑美感的形态。
Giacometti's portraits, whether painted or sculpted, serve as translations of the model as an implacable otherness that can never be fully grasped. Devoid of emotion and expression, these portraits become receptacles for the spectator's projections. The artist focused on capturing and rendering the life vibrations of his models rather than their psychology. Under his brush, Rita, his mother's cook, transcended sociological context to embody a sacerdotal dignity. His favorite models were those close to him: his wife Annette, whom he married in 1949, and his brother and assistant Diego, who mediated his deepest artistic explorations. Working from memory, he recreated their images in an imaginary space, while when working from live models, he rejected classical perspective and reconstructed their poses based on his personal visual experience, revealing fragmented, deformed, yet ever-dynamic qualities. Their features sometimes dissolved, merged, or were reduced to essentials. Giacometti also painted occasional models who agreed to pose for extended periods, such as the English industrialist and collector Sir Robert Sainsbury, the sophisticated intellectual Paola Carola-Thorel, and the artist Pierre Josse. Each modeling session sparked a new sequence of perceptions that the artist sought to capture with his brush. Caroline, a beautiful woman with a complex personality who associated with criminals and posed for him from 1960 onwards, was portrayed in three distinct aspects: as a remote goddess, a dangerous and totemic figure, and a sculptural beauty.
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BUSTE D’ANNETTE VIII / 1962 / BronzeSize：59 x 26.70 x 22.80cmDocumentation Fondation Giacometti, Paris© 阿尔贝托·贾科梅蒂遗产管理会（巴黎贾科梅蒂基金会 + 法国美术著作权协会ADAGP，巴黎）© Succession Alberto Giacometti, (Fondation Giacometti, Paris + ADAGP, Paris)贾科梅蒂的版画创作始于学生时期，在父亲的指导下完成了最初的木刻作品，并在其艺术生涯中不断探索，尝试了木刻、雕版、蚀刻、飞尘腐蚀法等多种版画技法，尤其是1949年后重点发展的石版画。1934年，他作为安德烈·布勒东婚礼的见证人，为诗人新婚妻子的诗集《水的气息》绘制了插画。作为一位热爱书籍并与众多作家诗人保持友谊的艺术家，他还为勒内·克雷维尔的《搅浑水》（1933年）、乔治·巴塔耶的《鼠的故事》（1947年）、米歇尔·莱里斯的《无名的活灰》（1961年）以及勒内·沙尔的《上游归来》（1965年）等文学作品配图。从1951年起，他的石版画作品开始由玛格画廊单独出版，他一直致力于通过优质出版物传播自己的艺术。利用石版画技术将素描转印到锌版上的便捷性——只需特制纸张和石版画笔——贾科梅蒂得以走出工作室，在街头捕捉城市景象、咖啡馆露台、高架地铁、奥利机场等现代建筑工地以及制版工坊的灵感，然后返回工作室继续创作。这些素材最终汇聚成《永无止境的巴黎》，这是一套由出版商泰里亚德委托的150幅版画集，贾科梅蒂自1959年开始创作，但遗憾的是，直到他英年早逝后才得以面世。
From his schoolboy days, working alongside his father, Giacometti produced his first prints – wood etchings. Throughout his life, he experimented with various print techniques, including wood, engraving, etching, aquatint, and particularly lithography, which he focused on from 1949 onward. In 1934, as a witness at André Breton's wedding, he illustrated the anthology L'Air de l'eau, gifted by the poet to his new wife. A passionate book lover and friend to many writers and poets, Giacometti also illustrated works by René Crevel (Les Pieds dans le Plat, 1933), Georges Bataille (Histoire de rats, 1947), Michel Leiris (Vivantes cendres, innommées, 1961), and René Char (Retour Amont, 1965). Starting in 1951, the Maeght Gallery separately published his lithographic plates, as Giacometti was a strong advocate for disseminating his work through quality editions. The lithography process, which involved transferring a drawing onto a zinc plate, allowed for lightweight and easy-to-handle equipment: just special paper and a lithographic pencil. This enabled the artist to venture outside his studio, sketching scenes of the city, café terraces, the overhead Metro, modern construction sites like Orly airport, and the lithographer’s print shop, before returning to his studio. These sketches eventually became the subject of Paris sans fin, a collection of 150 prints commissioned by the publisher Tériade that Giacometti worked on from 1959 until his premature death, when it was finally published.
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构图 I，出自雅科夫斯基作品集 / 1935年 / 雕刻COMPOSITION I, Sheet for the portfolio of Anatole Jakovsky / 1935 / EngravingParis: H. Orobitz / 23 printsDocumentation Fondation Giacometti, Paris© 阿尔贝托·贾科梅蒂遗产管理会（巴黎贾科梅蒂基金会 + 法国美术著作权协会ADAGP，巴黎）© Succession Alberto Giacometti, (Fondation Giacometti, Paris + ADAGP, Paris)贾科梅蒂在艺术创作中构建了一个将人物形象与自然元素对等的关系系统：半身像宛如山峦，站立的人像似挺拔的树木，头部则如同坚硬的顽石。在阳光下，山峦的微微颤动仿佛呼吸，而人类也如同树木一样，被永不停息的生长与死亡循环所束缚。这一主题体现在他为美国宾夕法尼亚州考夫曼家族墓室制作的1956年门上。1958年，一个夜间景象激发了他的创作灵感，他迫切地创作了一幅画作，将人、树、山三者巧妙融合。然而，对贾科梅蒂而言，最寻常之物往往蕴含着未知与奇妙。他观察到，从斯坦帕工作室窗外看到的风景总在变化，他可以“每天观看同一个花园、同样的树木和同样的背景”；在巴黎，他则长时间凝视对街的小房子，并从自家门前将其画下。他惊叹于“无需改变位置就能绘制的所有美丽风景，那些最普通、无名、平凡却最为美丽的景色”。
Giacometti creates a system of equivalences between the human figure and nature, where busts are likened to mountains, standing figures to trees, and heads to stones. In sunlight, the mountain's vibration resembles breathing, and like trees, humans are caught in an unending cycle of growth and death. This theme is featured on the door he completed in 1956 for the Kaufmann family vault in Pennsylvania, USA. In 1958, inspired by a nighttime vision, he hastily painted a picture unifying the trilogy of man, tree, and mountain. However, for Giacometti, it was the most ordinary things that held the unknown and the wonderful. He noted that the landscape visible from his Stampa studio window was constantly changing, allowing him to "spend every day looking at the same garden, the same trees, and the same backdrop," or, in Paris, to gaze for hours at the small house across the street, which he painted from his doorway. He marveled at "all the beautiful landscapes that can be painted without changing one's position, the most ordinary, anonymous, banal, yet beautiful landscapes imaginable."
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LANDSCAPE AT STAMPA / Circa 1961 / Oil on canvasDocumentation Fondation Giacometti, Paris© 阿尔贝托·贾科梅蒂遗产管理会（巴黎贾科梅蒂基金会 + 法国美术著作权协会ADAGP，巴黎）© Succession Alberto Giacometti, (Fondation Giacometti, Paris + ADAGP, Paris)1958年12月，贾科梅蒂经纽约画商皮埃尔·马蒂斯引荐，受邀为曼哈顿大通银行新建摩天大楼前的广场设计一个纪念碑方案。次年2月，该城市综合体的建筑师戈登·邦夏夫特向他寄送了广场的尺寸模型，助力这位从未到访过美国的艺术家构想这一空间。贾科梅蒂决定以宏大尺度呈现其自1948年以来创作的三个核心主题：一个巨大的站立女性形象、一个大型行走的人、一个置于地面的巨型头像，三者彼此呼应，共同构成一个整体。通过这一纪念碑，他首次向观众敞开了其奇妙世界的大门，在这里，女性雕像宛如树木，巨型头像好似磐石，行走者的身影在其间若隐若现，共同营造出一片如梦似幻的林间空地。然而，由于贾科梅蒂在1961年退出了竞争，这座纪念碑未能如愿在纽约落成。随后，他决定将每个雕塑分别用青铜铸造，并于1962年在威尼斯双年展上展出了首个版本。1964年，另一个版本的雕塑群被安置在玛格基金会的庭院中，俯瞰着蔚蓝海岸上的松树林。
In December 1958, Giacometti, through his New York dealer Pierre Matisse, received an invitation to submit a project for a monument destined for the square being constructed in front of the new Chase Manhattan Bank skyscraper in Manhattan. In February 1959, Gordon Bunshaft, the architect of this urban complex, provided Giacometti with the dimensions for a model of the square to aid the artist, who had never visited the United States, in visualizing the space. Giacometti decided to bring the three motifs that had been recurring in his work since 1948—a gigantic standing female figure, a large walking man, and a monumental head on the ground—to life on a grand scale, interrelating them within the monument. This monument, for the first time, allowed spectators to enter his captivating world, where women took the form of trees, heads resembled stones, and fleeting shadows of walking men traversed a magical glade. However, the monument never materialized in New York due to Giacometti's withdrawal from the competition in 1961. Instead, he chose to cast each sculpture in bronze separately and exhibited the first version of the set at the 1962 Venice Biennale. Another version was installed in 1964 in the Fondation Maeght's courtyard, overlooking a pine forest on the Côte d'Azur.
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TALL WOMAN I / 1960 / BronzeDocumentation Fondation Giacometti, Paris© 阿尔贝托·贾科梅蒂遗产管理会（巴黎贾科梅蒂基金会 + 法国美术著作权协会ADAGP，巴黎）© Succession Alberto Giacometti, (Fondation Giacometti, Paris + ADAGP, Paris)电影制作人兼摄影师埃利·洛塔尔，作为超现实主义先锋派20世纪30年代的成员，后来成为贾科梅蒂的最后一位男模特。在战后经历了一系列失败后，洛塔尔陷入贫困，依靠包括贾科梅蒂在内的老朋友的慷慨援助维持生计，贾科梅蒂会支付他跑腿和担任模特的费用。乔治·索阿维描述了洛塔尔在创作中保持绝对静止的场景：贾科梅蒂眼中闪烁着奇异的光芒，全身震颤，完全沉浸在创作的冲动中，仿佛陷入狂喜。他发现洛塔尔能屏住呼吸的秘密在于，如果埃利是雕塑的理想模特，那是因为他已如雕塑般“死去”，不呼吸、不思考，全神贯注。艺术家与模特之间仿佛有一股电流相连，沉浸在真实的默契之中，他们一起玩耍，却无需球、球拍或球网。在这些让人联想到圣物匣和埃及雕像的作品中，洛塔尔这个曾经的流浪汉被赋予了祭司般的尊严。正如让·热内所观察到的，对贾科梅蒂而言，女人是女神，而男人则是“最高等级的神职人员”，他们“永远属于同一个高傲而忧郁的家族，既亲近又遥远，不可企及”。
Eli Lotar, a film-maker and photographer who was part of the Surrealist avant-garde in the 1930s, served as Giacometti's last male model. Following a series of failures in the postwar years, Lotar found himself in dire straits and relied on the generosity of old friends like Giacometti, who paid him for running small errands and posing. Giorgio Soavi described the sessions where Lotar had to remain absolutely still: Giacometti's eye was filled with strange gleams, his entire body vibrating as he followed the impulses governing his hands, arms, and legs, lost in ecstasy. Observing the two faces closely, Soavi realized the secret behind Lotar's ability to hold his breath: if Eli was the ideal model for the sculpture, it was because he was like a statue, not breathing, not thinking, focused solely on the highest point. An electric current seemed to connect the artist and the model, enveloping them in a genuine sense of complicity as they played together, albeit without any tangible objects like a ball, racket, or net. In these sculptures, which evoke the aura of reliquaries and Egyptian statues, the once-destitute tramp was granted the dignity of a priest. Jean Genet observed that for Giacometti, women were goddesses while men, like priests belonging to a very senior clergy, invariably belonged to the same haughty and gloomy family, familiar and very close yet inaccessible.
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坐姿男子胸像（洛塔尔 III） / 1965年作 / 青铜UST OF MAN SEATED (LOTAR III) / 1965 / BronzeDocumentation Fondation Giacometti, Paris© 阿尔贝托·贾科梅蒂遗产管理会（巴黎贾科梅蒂基金会 + 法国美术著作权协会ADAGP，巴黎）© Succession Alberto Giacometti, (Fondation Giacometti, Paris + ADAGP, Paris)内容策划 Content Planning Dinz Lin / 新媒体编辑 Social Media Editor 林杰欣 Stella / 美术编辑 New Media Designer 陈慧 Chen Hui / 文案撰稿 Content Writing 林杰欣 Stella / 翻译 Translation 林杰欣 Stella视觉设计Design 钉子工作室 Dinz Studio / 陈慧 Chen Hui 陈植贤 Again特别感谢 Special Thanks Alberto Giacometti![]()
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