Florence Monnier

Alberto Giacometti – La Clairière, Place neuf figures The Clearing, Place, nine figures, 1950 The sculptures: La Place (Composition, three figures and a head), The Forest (Place, seven figures, a head, La Clairière (The Clearing) (Composition with nine figures), were all created during summer 1950 and initially called Places. They all represent immobile characters with

Alberto Giacometti – La Place, trois figures, 1950 La Place (three figurines), c.1950 drawing During March and April 1950, Alberto Giacometti made three figures each day, sketches of figures with different sizes and heads. Although he was not satisfied, he felt unable to destroy them yet did not want to “leave them alone and lost

Alberto Giacometti, L’Homme qui marche Walking Man I, 1960 “A woman, I always make immobile, and a man, I always have him walking”. Alberto Giacometti In 1947, Giacometti ended ten years spent observing the model to best express reality and – according to him – as he did not manage to do so, he started

Alberto Giacometti, Grande tête, 1960 Large Head I, 1960 This work was designed for the monumental composition project for the square of the Chase Manhattan Bank in New York which was not retained. Alberto Giacometti (1901 – 1966) In 1959, the architect responsible for the new Chase Manhattan Bank headquarters in New York asked Alberto

Alberto Giacometti, Lustre, 1949 Chandelier, 1949 The chandelier was originally created around 1949 by Alberto Giacometti for Aimé and Marguerite Maeght’s apartment on Avenue Foch in Paris. On completion, the chandelier was finally installed in the early 1950s at Mas Bernard, the property of the Maeght family in Saint-Paul de Vence. This chandelier contains representations of

Alberto Giacometti – Portrait de Marguerite Maeght Portrait of Marguerite Maeght, 1961 “I detest having to cover a canvas. Anyway it is impossible to truly finish anything”, the artist told the writer James Lord one day. Of the three portraits of Marguerite Maeght he painted the same year, the unfinished look of this one illustrates

Alberto Giacometti, Buste de Diego Bust of Diego, 1954 Between 1951 and 1957, Alberto Giacometti created a series of busts and heads of Diego, some of which from memory. Most of these busts cut-off at mid-height are solid, with no base, and made with kneaded material, which accentuates the expressiveness. “[Diego] had posed ten thousand

Alberto Giacometti, Le Chat The Cat, 1951 The cat that inspired this sculpture is the one that his brother Diego took in. As such the artist related how he saw the animal during an interval: “This cat came towards me, I saw it head on. A cat is slim and can move between two objects

Alberto Giacometti – L’Objet invisible Invisible object (Hands Holding the Void), drawing I undoubtedly discussed questions of art history and the artist’s role with Alberto Giacometti the most. In the first few years of my parents’ gallery, I did a little bit of everything. I was the go-between between Alberto and the atelier Mourlot which

Alberto Giacometti, L’Objet invisible Invisible object (Hands Holding the Void), 1934 This sculpture, also entitled Hands Holding the Void, represents a seated female figure, or who is toppling, unsteadily balanced on a latticed rectangular support, with an effect of false perspective tending to make the chair on which she is resting more vertical. Whereas the