La magie quotidienne (l'atelier)
Alberto Giacometti
Print - 51 x 36 x 0.1 cm Print - 20.1 x 14.2 x 0 inch
$4,392
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Sans titre (Un poème dans chaque livre Paul Eluard) Ref BDNW2916,
1955
Alberto Giacometti
Print : eau-forte
44.5 x 32.5 cm 17.5 x 12.8 inch
$10,981
One of the last works available by this artist
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About the artwork
Type
Numbered and limited to 2 copies
1 copy available
Signature
Hand-signed by artist
Authenticity
Sold with certificate of Authenticity from the gallery
Invoice from the gallery
Dimensions cm • inch
44.5 x 32.5 cm 17.5 x 12.8 inch Height x Width x Depth
Support
Framing
Not framed
Tags
Artwork sold in perfect condition
Artwork location: France
Technique and support: Etching on thick BFK Rives paper.
Dimensions: 44.5 x 32.5 cm (Image 13 x 13.5 cm).
Provenance: Genevieve and Jean Paul Kahn collection.
Particularities of the work: Original print signed by hand by the artist in pencil at the bottom right, numbered 2/2, annotated "Artist's proof", and dedicated "For Louis Broder very affectionately". This work is an additional wide-margined edition of illustration 12 of the tribute book to Eluard "a poem in each book" published in 1956 in 120 copies. In the book illustration 12 is positioned next to Paul Eluard's poem "Facile" taken from the eponymous collection (1935). The work offered here comes from the album called "Album A", Reprinted from the book in 20 copies. Each album contains, like the book, 16 prints (including this work by Alberto Giacometti) but they were printed with wide margins and unlike the prints in the book, all signed or monogrammed by the artists. The album we have was the property of the publisher Louis BRODER. It stands out from the others because it is enriched in addition to the 16 large-margined illustrations with many other prints collected by the publisher throughout his collaboration with the artists on this book.
Expert's comment : Alberto Giacometti met the surrealist group in 1929. Coming from the puritanical Swiss environment, it was a liberation for the artist that was as personal as it was artistic. Relations are particularly strong with André Breton, but he fascinates the poets of the group, including Paul Eluard, with his ability to dialogue with talent for literature and poetry. No doubt they must have repeatedly spoken of women, of this symbiosis that can exist between two beings mentioned in the last line of the poem "you are the resemblance". Alberto Giacometti to illustrate "easy", gives us as usual, a work that seems sketchy but suggestive. Didn't he conceive of another setting for this mad love than this studio, one of the artist's favorite subjects? As for Paul Eluard, we know that he said that it was easy to be faithful with Nusch.
Explanatory photo 1: Comparison between Album A offprint of "a poem in each book" printed in 20 copies and the book "a poem in each book" printed in 120 copies.
Explanatory photo 2: Album A offprint of 20 copies having belonged to the publisher Louis Broder contained in a gray canvas box with a label stuck on the back and the first cover.
Explanatory photo 3: Proof of printing of Album A which indicates the maximum number of copies of prints contained in total in the 20 albums as well as the names of the artists. It is annotated in red pencil "Editor's copy B" because it belonged to Louis Broder.
Explanatory photo 4: Original print signed and printed with wide margins by Pablo Picasso, contained in album A
Explanatory photo 5: Original print signed and printed with large margins by Max Ernst, contained in album A
Explanatory photo 6: Book "a poem in each book" printed in 120 copies, containing the 16 prints unsigned by the artists (signatures on the proof of printing of the book)
Explanatory photo 7: Print by Pablo Picasso on double page, unsigned contained in the book "a poem in each book"
Explanatory photo 8: Print by Max Ernst unsigned contained in the book "a poem in each book"
Read more
Dimensions: 44.5 x 32.5 cm (Image 13 x 13.5 cm).
Provenance: Genevieve and Jean Paul Kahn collection.
Particularities of the work: Original print signed by hand by the artist in pencil at the bottom right, numbered 2/2, annotated "Artist's proof", and dedicated "For Louis Broder very affectionately". This work is an additional wide-margined edition of illustration 12 of the tribute book to Eluard "a poem in each book" published in 1956 in 120 copies. In the book illustration 12 is positioned next to Paul Eluard's poem "Facile" taken from the eponymous collection (1935). The work offered here comes from the album called "Album A", Reprinted from the book in 20 copies. Each album contains, like the book, 16 prints (including this work by Alberto Giacometti) but they were printed with wide margins and unlike the prints in the book, all signed or monogrammed by the artists. The album we have was the property of the publisher Louis BRODER. It stands out from the others because it is enriched in addition to the 16 large-margined illustrations with many other prints collected by the publisher throughout his collaboration with the artists on this book.
Expert's comment : Alberto Giacometti met the surrealist group in 1929. Coming from the puritanical Swiss environment, it was a liberation for the artist that was as personal as it was artistic. Relations are particularly strong with André Breton, but he fascinates the poets of the group, including Paul Eluard, with his ability to dialogue with talent for literature and poetry. No doubt they must have repeatedly spoken of women, of this symbiosis that can exist between two beings mentioned in the last line of the poem "you are the resemblance". Alberto Giacometti to illustrate "easy", gives us as usual, a work that seems sketchy but suggestive. Didn't he conceive of another setting for this mad love than this studio, one of the artist's favorite subjects? As for Paul Eluard, we know that he said that it was easy to be faithful with Nusch.
Explanatory photo 1: Comparison between Album A offprint of "a poem in each book" printed in 20 copies and the book "a poem in each book" printed in 120 copies.
Explanatory photo 2: Album A offprint of 20 copies having belonged to the publisher Louis Broder contained in a gray canvas box with a label stuck on the back and the first cover.
Explanatory photo 3: Proof of printing of Album A which indicates the maximum number of copies of prints contained in total in the 20 albums as well as the names of the artists. It is annotated in red pencil "Editor's copy B" because it belonged to Louis Broder.
Explanatory photo 4: Original print signed and printed with wide margins by Pablo Picasso, contained in album A
Explanatory photo 5: Original print signed and printed with large margins by Max Ernst, contained in album A
Explanatory photo 6: Book "a poem in each book" printed in 120 copies, containing the 16 prints unsigned by the artists (signatures on the proof of printing of the book)
Explanatory photo 7: Print by Pablo Picasso on double page, unsigned contained in the book "a poem in each book"
Explanatory photo 8: Print by Max Ernst unsigned contained in the book "a poem in each book"
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Discover more by the artist
La magie quotidienne (tête de femme)
Alberto Giacometti
Print - 41 x 28 x 0.1 cm Print - 16.1 x 11 x 0 inch
Sold
Presentation
The painter Alberto Giacometti was born in Switzerland in 1901. His father, Giovanni Giacometti, was a painter and started his son on a creative path early in life. He practiced portraiture first by painting the members of his family. He joined the Geneva School of Fine Arts then trained under Antoine Bourdelle at the Académie de la Grande Chaumière in Montparnasse. His works are world-famous and have been exhibited in the greatest French modern art museums such as Musée de l'Orangerie, the Paris Museum of Modern Art and the Centre Pompidou but also abroad in London, New York, and Copenhagen, etc.
He moved to Paris in 1926 and, like many artists, he became fascinated by cubism, African art and the sculptures of the ancient world. His dreamlike plaster sculptures brought him into contact with surrealists such as Joan Miró and Jean Arp. In 1931, he joined the group of surrealists which included Louis Aragon, André Breton and Salvador Dali. He gradually lost interest in themes of death, violence and uncertainty to undertake work on series of heads and he was to remain obsessed with the representation of them for the rest of his life. He especially sculpted his brother Diego, or his deceased father. This new subject of interest resulted in him being excluded from the Surrealist movement in 1935. He then began to produce large-scale sculptures.
It was in 1947 Giocometti really found his definitive style by depicting long threadlike bodies in bronze. His works are often enclosed in a set space, such as a cage or plinth for example, and this is the representation of a mental space external to the artist. The long characters that occupy this space have very thin bodies, as if they have been dug out and are much like trees. Like past images imprinted in your memories, these bodies are represented in movement, and appear far off and long gone.
The friendship in 1948 between Alberto Giacometti and Pierre Matisse, son of the painter Henri Matisse, was very stimulating for the artist. It was at this period that the sculptor produced his greatest works. He died in 1966 but won many prestigious awards such as the Carnegie Prize in 1961, the Grand Prize for Sculpture at the Venice Biennale in 1962, the Guggenheim Prize in 1964, and the Grand Prix International des Arts de France in 1965.
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