Giacometti. La Scultura

L’esposizione racconterà attraverso 40 opere l’artista e la sua opera in dialogo con i capolavori presenti in Galleria, per fornire un panorama esaustivo dei modi in cui è stato interpretato il concetto di “statua” nelle varie epoche storiche.

Comunicato stampa

Dal 5 febbraio fino al 25 maggio 2014 la Soprintendenza Speciale per il Patrimonio Storico Artistico ed Etnoantropologico e per il Polo Museale della Città di Roma, diretta da Daniela Porro, presenta all’interno delle sale della Galleria Borghese, diretta da Anna Coliva, la mostra Giacometti. La Scultura.
Sotto l’Alto Patronato del Presidente della Repubblica, la mostra è promossa dal Ministero dei beni e delle attività culturali e del turismo, curata da Anna Coliva e da Christian Klemm, illustre studioso dell’opera di Giacometti e realizzatore delle monografie più importanti sull’artista, e organizzata e prodotta da Arthemisia Group.
L’esposizione porterà a Roma l’arte indiscussa e drammatica di uno dei più grandi artisti del ‘900.
La Villa Pinciana, nobile scenario di capolavori è, per definizione, soprattutto il luogo della scultura, grazie alla presenza nella collezione di sommi esempi dell’epoca greca e romana, del Rinascimento, del Barocco e del Neoclassicismo.
La meta di questo viaggio attraverso i secoli è l’interpretazione statuaria della figura umana nel XX secolo, che si concretizza nell’arte di uno dei più grandi del ‘900: Alberto Giacometti.
Il desiderio di raccontare la tragicità della scultura moderna a confronto con la classicità del passato è stata dettata da una riflessione sulla poetica di Giacometti, fortemente emblematica di un secolo che vede grandi sconvolgimenti politici, storici e culturali. I curatori della mostra hanno voluto raccontare attraverso il percorso come muti la visione degli artisti nel confrontarsi con la raffigurazione dell’essere umano.
La mostra dunque è occasione per raccontare l’artista - visionario, onirico e surrealista, fautore di un segno indelebile nell’arte - e soprattutto far vedere la sua opera in dialogo con i capolavori della Galleria: le forme sinuose e bianche della Femme couchée qui rêve (1929) in cui si scorgono quelle della Paolina di Canova (1805/1808), il cui volto è riflesso, sull’altro lato, nella Tête qui regarde (1928); il passo pesante dell’Homme qui marche (1947), in cui risuona l’eco di quello affaticato di Enea sotto il peso di Anchise (1619); la Femme qui marche (1932/1936), nera e misteriosa come le sfingi di basalto della Sala egizia; l’equilibrio instabile dell’ Homme qui chavire (1950), fuori asse e pronto a perdere l’equilibrio come il David di Bernini (1623/1624).
Tra le 40 opere esposte, bronzi, gessi e disegni innescano nel contesto della Galleria l’energia bruciante dell’arte di Giacometti, che indaga la profondità vitale dei soggetti, scavandone l’anima fino a “ridurre all’osso” la figura umana: questa la tragica modernità trasmessa al visitatore che percepirà che le sculture di Giacometti creano attorno a loro l’alone volumetrico di una drammatica cornice immateriale, invisibile ma sensibile.

The*Galleria*Borghese,*a*shrine*of*priceless*antique*masterpieces,*hosts*for*the*very*first*time*
the* tragic* of* modern* sculpture* embodied* in* the* work* of* one* of* the* greatest* 20th* century*
artists:*Alberto*Giacometti.*
*
PRESS&RELEASE&
From!5th&February&to!25th&May& 2014& the& Special& Department& for& the& historical,& artistic& and&
ethnoJanthropological&heritage&and&museums&of&the&city&of&Rome,&chaired&by&Daniela&Porro,&
presents&the&exhibition&Giacometti.*La*Scultura,&curated!by!Anna&Coliva&and!located!in&the&halls&
of&Galleria&Borghese.&
Under& the&high&patronage&of& the&President&of& the&Republic,&the!exhibition!is!promoted!by! the!
Ministry& for& cultural&affairs& and& tourism&and! organised! and! produced! by!Arthemisia& Group.!
Curated!by!Anna&Coliva!and!Christian&Klemm,!a!distinguished!scholar!of!Giacometti’s!work!and!
the!author!of! the!most!important!monographs!on! the!artist,! the!exhibition!will!bring! to!Rome! the!
undisputed!and!dramatic!art!of!one!of!the!greatest!artists!of!the!20th!century.!
Villa!Pinciana,!a!noble!setting! for!numberless!masterpieces,!is!by!definition! the!favoured!location!
for! sculpture,! thanks! to!its! collection! featuring! sublime! examples! of!Greek! and!Roman! times,! the!
Renaissance,!the!Baroque!and!the!neoclassicism.!!
The!destination!of!this!journey!through!the!centuries!is!the!sculptural!interpretation!of!the!human!
figure!in!the!20th!century!epitomised!by!the!artistic!work!of!one!of!the!greatest!artists!of!the!20th!
century:!Alberto!Giacometti.!
The! desire! to! explore! the! tragic! of! modern! sculpture! compared!to!classical! antiquity! has! arisen!
from!an!investigation! on!Giacometti’s! poetics,!which!was! strongly!emblematic! of!a! century!when!
great!political,!historical!and!cultural! turmoil! took!place.!The!exhibition!curators!chose! to!explore!
the!way!in!which!the!artists’!vision!changes!when!it!tackles!the!representation!of!the!human!being.

The! exhibition! is! therefore! an! opportunity! to! explore! the! artist!–!a!visionary,! oneiric,! surrealist!
figure! that!left!an!unforgettable!mark!in!art!–!and!above!all! to!show!his!art!“conversing”!with! the!
masterpieces!on!display!in!the!Galleria:!the!white,!curvy!shape!of!Femme$couchée$qui$rêve$(1929)$in!
which! Canova’s! Paolina$ (1805/1808)$ can! be! glimpsed,! whose! face! is! mirrored! by! the! Tête$ qui$
regarde$(1928)$on!the!other!side;!the!heavy!step!of!the!Homme$qui$marche$(1947),!echoing!Aeneas’!
weary! step! under! Anchises’! weight!(1619);! the! Femme$ qui$ marche$ (1932/1936),! as! dark! and!
mysterious! as! the! basalt! sphinxes! in! the! Egyptian! hall;! the! unstable! balance! of! the!Homme$ qui$
chavire$(1950),!offOaxis!and!on!the!verge!of!losing!its!balance!like!Bernini’s!David$(1623/1624).!
In!the!Galleria!setting,!the!40&exhibited&works&J&bronzes,!plaster!works!and!drawings!O!release!the!
burning! energy! of! Giacometti’s! art,!which!investigates!the!lively! depth! of! his! subjects! by! carving!
their!soul!until!the!human!figure!is!“stripped!to!the!bone”:!this!is!the!tragic!modernity!conveyed!to!
visitors,! who! will! perceive! the! way! in! which! Giacometti’s! sculptures! create! around! them! the!
volumetric!halo!of!an!immaterial!frame,!invisible!yet!perceivable.!
!
THE&EXHIBITION&
Surrounded!by!the!visual!celebration!of!Galleria!Borghese,!Giacometti’s!representation!of!mankind!
highlights!the!man!and!his!fatal!failure!that!becomes!the!tragic!achievement!of!modernity.!
As!opposed!to!the!past,!here!the!greatness!of!man!along!the!centuries!is!glorified!and!the!exhibition!
explores! the! boundless! complexity! of! the! human! being! –! also! through! the! metamorphosis!
undergone!by!the!Galleria.!

1.&Hall&–&The*sculptures*for*the*Chase*Manhattan*Plaza&
The!Chase*Manhattan*Plaza!has!been!reproduced!in! the!Hall!welcoming!visitors!at! their!arrival,!
complete!with! the! following! works!by!Giacometti:!Standing*Woman* I!(1960),!Large*Woman* II!
(1960),!Walking*Man*I!(1960).!
This!work!combines!the!three!most!important!themes!of!his!later!production,!but!also!the!different!
aspects!featured!by!previous!compositions,!such!as!La$Place!and!La$Foret.!
The!tiny!figures!created!by!the!sculptor!during!the!war!to!convey!the!impression!of!a!person!seen!
from!a!great!distance!turn!into!figures!that!are!larger!than!their!lifeOsize.!
Creating!monumental!sculptures!for!public!spaces!has!always!been!every!sculptor’s!aspiration!and!
for! Giacometti,! too,! this! assignment! brought! with! it! the! nostalgic! aura! of! an! enterprise! he! had!
ventured!upon!several!times,!although!none!of!his!projects!had!ever!became!reality.!
The! exhibited! work! was! executed! upon! architect! Gordon! Bunshaft’s! invitation! to! realise!
monumental!sculptures! for!Chase!Manhattan!Plaza! to!be!displayed!in! the!area!in! front!of! the!60O
floor!skyscraper!where!the!bank!of!the!same!name!is!based.!!
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2.&Canova&Hall&–&Plastic*perception&
Alberto!Giacometti’s!extraordinary! talent! for!shapes!emerges!very!early!on!and!at!seventeen!only!
he!already!makes!masterful!drawings.!However,!becoming!a!professional!sculptor!doesn’t!appear!to!
be!an!easy!task.!Nevertheless,!following!a!first!crisis!in!1920/21!and!his!subsequent!departure!from!
figurative!art!in!order! to!resort! to!cubism,!his!art! turns! towards! the!discovery!of!a! fully!personal!
form.! In! 1928!Observing$ Head$(1928)! came! to! life,! on! display! in! the! Canova! Hall! beside!Paolina$
Borghese.$This!is! a! formally! fully! accomplished! work,! featuring! extreme! essentiality,! whose! pure!
abstraction!conjures!the!material!figure.!!
This! hall! also! displays! Reclining$ Woman$ who$ Dreams! (1929),! Man! (Apollo)! (1929),! Reclining$
Woman,! (1929);! these! works,! when! compared! to! the! organic! fullness,! the! tense!muscles! and! the!
purity! of! contours! in! Canova’s! work,! highlight! Giacometti’s! inclination! to! lightness! and! concave,!
hollow!shapes!–!a!rather!unusual!thing!for!a!sculptor.!!
!
3.&David&Hall&–&The*sight&
In!David!Hall,!Bernini!uses!his!art!to!“instruct”!us!on!how!to!perceive!the!intensity!of!Giacometti’s!
sculptures:!David’s!static!energy!contrasts!with!the!swinging!movement!of!the!Swaying*Man.!
What! the! modern! artist! perceives! as! something! temporary! because! it! is! perpetually! moving,! for!
Bernini! it! can! hold! its! position! for! a! single! instant.! The! rotating! movement! applied! to! a! highly!
dramatic! situation! is! radically! transformed! by! the! Swiss! sculptor! and! shown! as! a! universal!
condition!of!the!human!being.!The!surface!of!the!object,!full!of!marks!to!make!the!viewer’s!eye!move!
along! it,! testifies! to! Giacometti! phenomenological! research! in! his! attempt! to! make! the! viewer!
perceive!the!sight!process.!
!
4.&Apollo&and&Daphne&Hall&–&Movement*in*stillness**&
Evoking!movement!as!a!physical!and!psychic!emotion!in!sculptures!that!stand!still!and!motionless:!
this!is!Bernini’s! fundamental!aspiration,!whose!most!epitomising!work!in! this!sense!is!Apollo$and$
Daphne.!
Giacometti! is! aware! of! this! contradiction! from! an! early! age:! in! his! 1921! great! selfOportrait! after!
coming! back! from! Italy,! he! is! still! under! the! influence! of! tympana! in! classical! temples! and! he!
represents!himself!in!the!running!gait!(with!one!knee!bent!and!the!other!raised)!of!Medusa,!whose!
gaze!freezes!whoever!dares!look!at!her.!
He! changes! perspective! by! resorting! to! perception:! it! is! the! ceaseless! eye! movements! that! are!
supposed!to!make!the!original!creation!alive!by!imagining!the!shapes.!!
His! first!work!along! the! same!lines!is!Standing!Woman! of! 1948,! sculpted!in! the!aftermath! of! the!
Second!World!War!when!the!Femmes$debouts!increase!in!number.!The!group!of!Femmes$de$Venise$
stands! out!from! the! rest;! here,! as! well! as! in! the! four! subsequent!Grandes$ Femmes,!Giacometti!
investigates!different!possibilities!for!sketching!the!woman!figure.!
Some!1956!works!belonging!to!the!Femmes$de$Venise!(1956)!group!are!on!display!in!the!Apollo!and!
Daphne!hall.!Through!these!sculptures!the!artist!investigates!different!possibilities!for!sketching!!

the! woman! figure! and,! similarly! to! Daphne! turning! into! a! tree,! in! Giacometti’s! women! the!
metamorphosis!is!also!linked! to!a!universal!presence:! the! tall!and!slim! forms!are!anchored! to! the!
ground!through!huge! feet,!resembling!roots,!and!surfaces!are!as!chapped!as!tree!barks.!The!small!
heads!are!prospectively!thoughtful;!an!uninterrupted!flow!pushes!upwards!the!whole!shape.!
!
5.&Emperors&Hall&–&A*sculpture*as*fragment*
The!fact!that!representations!of!body!parts!can!be!considered!fully!accomplished!works!of!art!dates!
back!to!the!discovery!of!some!ancient!sculptures!among!Rome’s!ruins:!more!specifically,!a!bust!that,!
as!per!Michelangelo’s!instructions,!was!never!completed!but!left!in!the!Belvedere!court!in!Vatican,!
where!it!became!the!favourite!subject!matter!of!research!for!sculptors!in!bud.!
Later! on,! from! Rodin! onwards,! the! expressive! representation! of! the! bust! represents! a! peculiar!
challenge,! so! much! so! that! Giacometti! also! exhibits! a! bust! for! the! first! time! at! the! Salon$ des$
Indépendants! in! 1925,! his! first! “abstract”! sculpture,! so! to! speak.! Shortly! afterwards! he! creates!
another! composition! reminiscent! of! cubism! and! clearly! inspired! by! the! fragment! of! a! Sumerian!
sculpture! with! two! clasped! hands.! Along! these! lines,!in! 1932! Giacometti! executes!Main$ prise!–!a!
wooden!hand!stuck!in!a!gearwheel!–!whereas!his!work!The*Hand!displayed!in!Rome!dates!back!to!
1947,!when! the!artist!resumes! this! topic!with!a!sharper!expressive!drama! following!his!return! to!
figurative!art!and!the!experience!of!the!war.!
As!he!later!stated,!the!hand’s!splayed!fingers!reminded!the!artist!of!an!arm!detached!from!the!body!
he!saw!in!1940!when!he!was!fleeing!from!Paris.!
Giacometti’s! chapped! and! ragged! surfaces! appear! here! for! the! first! time:! their! link! to! reality! is!
sharp! and! clear,! since! they! represent! gruesome! wounds.! This! is! soon! to! become! an! expressive!
means!distancing!itself!from!figurative!art.!
The! Roman! busts! too! –!whose! versions!of! the! 18th! century! are! on! display! in! this! hall! –!were!
inspired!by!the!cult!of!the!dead:!the!myth!of!Pluto’s!abduction!of!Proserpina,!the!goddess!of!fertility,!
represented! by! Bernini! in! the! dramatic! group! of! sculptures,! lies! at! the! core! of! the!Mysteries! of!
Eleusis,!in!which!the!initiate!can!experience!the!overcoming!of!death.!
Cube!(1933),!Invisible!Object!(1934!O!35)!and!The!Leg!(1958)!are!also!on!display!in!this!hall!beside!
the!Roman!busts.!
!
6.&Hermaphrodite&Hall&–&Spoon*Woman*and*Woman*with*Her*Throat*Cut*
Female! figures! seem! to! always! feature!in!the! work! of! Giacometti,! who!in! his! first!grande$femme!
creates! a! different! and! unique! female! shape,! the! Spoon* Woman.!In! his! first! “grande! femme”,!
followed! by! others!marking! one! of! the! peaks! of! his! career,! the! artist! combines! the! two! different!
sources! of!inspiration! of! his! first! period,! the! avantOgarde:! the! formal! rigour! of! Cubism! combined!
with!the!hieratic!symmetry!and!bold!expressive!representation!of!African!sculpture.!
In!this!work!the!shape!of!the!“spoon”!is!used!to!effectively!conjure!the!idea!of!a!woman!whose!only!
presence!is!her!trace!left!in!the!title.!It!is!precisely!the!title!that!stirs!a!sense!of!initial!bewilderment!
triggered!by! the!contrast!with! the!represented!object;! the!lack!of!human! traits! turns! the! tortured!
human!being!in!an!instrument!of!torture.!The!concave!lap!reminds!of!a!primitive!goddess!of!fertility!!!
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with!its! forward!and! backward!movements,! opening!and! closing!in! front! of! the! viewer.!The! pure!
forms!of!life,!breasts!and!head,!break!out!upwards,!floating!like!an!apparition.!The!elusive!concave!
emptiness!and!the!dominating!oval!pattern!pushing!in!opposite!directions!seem!to!portray!a!nearly!
erotic!frustration,!similar!to!the!effect!evoked!by!Hermaphrodite.!
Between! the! ancient! figure! lying! on! a! marble! mattress! and! the! Swiss! artist’s! not! less! unusual!
Woman*with* Her* Throat* Cut*there! is! a! fil$ rouge! linking! the! two:! they! both! portray! a! nearly!
disturbing!contrast! between!concave!and!convex! shapes;! their!limbs!move!in! opposite!directions!
and!–!a!particularly!odd!aspect!–!they!appear!in!two!opposing!conditions.!
The! former! is! lying! down! almost! asleep,! whereas! the! latter,! with! its! unstable,! dead! limbs,! looks!
dead!and!trodden!on,!but!seen!from!a!distance!it!looks!like!a!creature!threateningly!rushing!away.!
!
7.&Aeneas&and&Anchises&Hall&–&The*iconic*condensation.*The*Walking*Man!
The* Walking* Man* was! originally! a! sketch! for! a! monument! commemorating! the! Communist!
Member!of!Parliament!Gabriel!Péri,!but!it!has!become!Alberto!Giacometti’s!most!famous!sculpture,!
whose! intent! was! to! make! the! dead! man’s! soul! come! back! and! enjoy! the! daylight.! The! man’s!
hesitation!in!making!the!first!step!transforms!this!hieroglyphical!figure,!dating!back!to!the!origin!of!
civilisation,!into!something!subjective!and!precarious.!
Through!his!elusive!and!nearly!gravityless!creations!Giacometti! tells!us!of! the!ancient! tradition!of!
representing!the!human!being:!the!anxious!gait!of!the!figure,!its!fragility!and!the!humble!matter!it!is!
made! of! resembles! the! condition!itself!of! the! human! being.! His! transience,! made! of! dignity! and!
weakness,!is!the!“unrelenting”!reality!draining!the!human!being,!because!it!never!concedes!a! final!
and!total!cancellation.!
As!a!matter!of!fact,!his!suspended!figures!always!maintain!a!lowest!common!denominator!making!
them!still!recognizable!as!human!features.!They!no!longer!represent!anything!physical!and!in!other!
words!they!are!therefore!reduced!to!“signs”.!
The!great!work!The*Walking*Man!of!1947!has! remained!unique:!its!message!could!no!longer!be!
further! processed! or! elaborated.! The!walking! figures! created!in! the! three! following! years! have! a!
completely!different!character.!
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8.&Egyptian&Hall&–&Egyptian*origins*
Throughout!all!his!life!Giacometti!was! fascinated!by!the!perfection!and!rigour!of!Egyptian!art,!the!
embodiment! of! “style”! itself;! when! he! was! still! a! teenager,! Giacometti! held! a! lecture! on! the!
superiority!of!Egyptian!sculpture!to!the!Greek!one.!
After! seeing! some! original! Egyptian! works! for! the! first! time! in! Florence! in! 1920! he! then! often!
copied!those!works!of!art.!
Later!on,!he!travelled!to!Rome!to!study!some!further!samples!of!this!art!and!back!home!he!made!the!
great!selfOportrait!with!the!sketchy!traits!of!Akhenaton’s!face.!!
The!Egyptian!Hall!of!Galleria!Borghese!hosts!Walking$Woman$of!1932,!a!bizarre!work!that!holds!no!
ties!with!the!other!surrealistic!works!by!the!artist.!This!figure,!featuring!an!extreme!formal!!!
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perfection,!is!closer!to!the!objets$décoratifs!that!Giacometti!had!executed!for!the!JeanOMichel!Frank!
ensemblier!and! his!elegant!boutique!in! Faubourg!SaintOHonoré,! partly! drawing! from! the! Egyptian!
inspiration,!too.!
His!return!to! figurative!arts!also!means!that!the!dialogue!with!Egyptian!sculpture!becomes!a!core!
topic!for!him;!in!1936!he!makes!the!EgyptianOlike!portrait!of!his!partner!Isabel.!
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9.&Vestibule&
Giacometti!has!always!made!drawings,!from!a!very!early!age!and!for!the!rest!of!his!life,!without!any!
breaks.! It!was!his!main!means! to!investigate! reality!and! rapidly!capture!its! truest!essence!before!
the!apparition!disappeared!or!faded!into!a!blurry!memory!or!before!it!became!something!different!
altogether.!
The!watercolour!Roma$(1921),!on!display!in!the!exhibition,!takes!us!back!to!the!artist’s!youth!and!
his! happy! stay! in! Rome,! with! its! numberless! artistic! experiences.! Alberto! had! learnt! the!
watercolour! technique!from!his! father!but!he!used!it!with! freshness!and!inventiveness,!as!in! this!
airy!and!lively!composition.!
However,! this! new! vision! too,! although! different! but! nonetheless! fascinating,! deserved! to! be!
thoroughly! investigated! and! committed! to! paper! in! an! endless! game! transforming! reality! into! a!
marvellous! entity,! given! the! impossibility! to! understand! it! fully.! An! original! and! fascinating!
adventure!constantly!springing!out!of!an!apparently!trivial!object!or!from!the!faces!of!the!dear!ones,!
like!his!brother!Diego!or!his!wife!Annette,!patient!models!who!posed!for!him!numberless!times,!but!
whom!Giacometti!declared!no!longer!to!recognise,!by!observing!them!so!much!and!for!so!long.!This!
was! the! origin! of! Portrait* de* Madina* Visconti!(1932),!Head* of* Annette*(1959)! and!Head* of*
Professor*Corbetta!(1962),!showing!to!the!viewer!both!the!free!loose!trait!and!the!one!featuring!a!
more!rigid!structure!of!imaginary!dots!linked!to!one!another!through!straight!lines.!
!
10.&Lanfranco’s&Loggia&J&Busts*
The!exhibition!ends!in! the!magnificent!Lanfranco!Hall,!where! the!mythical! figures!of! the! frescoed!
vault!converse!with!Bernini’s!works!and!with!some!of!the!most!famous!busts!by!Giacometti,!such!as!
Lothar*III!(1965),!the!Bust*of*Man!of!1961,!and!the!beautiful!Bust*of*Annette!(1961).!
If! Bernini’s!lively! and! extrovert! characters! and! Giacometti’s! barely! sketched! apparitions! seem! to!
represent! two!opposing!extremes!of!European! figurative!sculpture,! their!respective!busts!share!a!
surprising,! intimate! affinity.! They! are! both! trying! to! capture! vitality,! movement,! momentary!
dimension!and!engagement!with!the!viewer,!expressed!through!the!gaze.!!
Heads! and! busts! represent! the! beginning! and! the! end! of! Giacometti’s! sculpture.! Following! his!
visionary! stage! portraying!incorporeal! figures! (from! 1947! to! 1950),!the!artist!inaugurates!a! new!
beginning! that!will!be! fundamental! for! this!genre.! In!Diego’s!busts!he! returns! to!plastic!mass.!He!
starts! off! with! quite! realistic! works! along! the! lines! of! early! Renaissance,! which! he! had! himself!
transformed! and! driven! to! several! original! and! different! directions! through! the! adoption! of!
phenomenology;!his!squashed!heads!in! the!shape!of!a!disk!are!very! famous.!The!busts!on!display!
feature!a!complete!transformation!of!the!traditional!genre!through!a!new!style!breaking!apart!the!
compactness!of!the!body!to!express!an!ineffable!vital!unrest.!The!traces!of!the!artist’s!fingers!and!!!
Organizzazione e produzione
della mostra a cura di
In collaborazione con Con il sostegno di Special partner Sponsor tecnico Media coverage by
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the!vision!of!him!at!work!in!front!of!the!model!are!embedded!in!the!work!itself;!when!the!viewer’s!
eyes!then!follow!the!shape!of!the!bust,!its!vital!presence!springs!back!to!life!again.!
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The!exhibition!is!produced!and!organised!by!Arthemisia&Group!with!a!contribution!from!Enel!and!
the!sponsorship!of&Bonelli&Erede&Pappalardo&Studio&legale.