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Example research essay topic: Alberto Giacometti – 984 words Essay

Words: 862, Paragraphs: 9, Pages: 3

Paper type: Essay

His purpose was to express the totality of life
and find the real through external experiences. He
was celebrated for his elongated figures that
followed his break from the surrealists. But, who
was Alberto Giacometti? Alberto Giacometti was
born in 1901 in the Italian speaking town
Borgonova, Switzerland. Being the son of Giovanni
Giacometti, an impressionist painter, he was
encouraged in art at an early age. Giacometti had
great confidence in his drafting ability at the
age of 10, and at 14 he began sculpting. When he
turned twenty, he moved to Paris to continue his
studies but Back home, Alberto Giacometti studied
with the famous sculpture Bourdelle.

With him he
drew and sculpted with models. Though, in 1925 he
gave up working with live models and in a few
years he had begun to achieved a measure of fame.
In the late 20s, Giacometti was invited by Andre
Breton to join the Surrealists. Surrealism is an
artistic and literary movement that explored and
celebrated the realm of dreams and the unconscious
mind through the creation of motion pictures,
poetry, and in this case, visual art. Many
surrealists rejected the artistic conventions of
the past, while seeking to preserve their best
traditions. They sought to demonstrate, as Breton
said, that no limits can be set to human Like the
most of the surrealists of his time, Giacomettis
art was guided by the aim of revolutionizing art
and perception. He used surrealist techniques that
tapped into his unconscious mind.

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Giacometti began
using objects as representations of more abstract
concepts. Many of his works involve a figure or
dismembered appendage trapped or precariously
hanging. In 1932, Alberto Giacometti left the
surrealist group for a brief period of time
because of his interests in the mysteries of the
human figure. This act put him at odds with the
surrealists and he became wary of any kind of
socially organizing principles in politics or art.
The years that followed, between 1930 and 1940,
are considered to be his years of crisis. In 1933,
Giacomettis random way of putting together volumes
and his equally unnecissary distortion of the
human body took him somewhere. The sculpture,
Walking Woman The life size, bronze sculpture was
headless and armless.

Its slenderly stylized and
is noticeably a womans figure. The left leg and
foot are placed slightly in front of the other and
barely seems to be moving forward. The mysterious
aura of its presence and unusual sense of forward
motion are characteristics in Walking Woman that
were quite visible in the last twenty When the
statue was exhibited in 1933, it was fitted with
wooden arms and the scroll of a cello as a head
and other devices to serve as hands. Though, as
time passed, Giacometti dropped these surrealist
pieces. This headless, armless figure seemed as a
revelation for the artist. In 1936 Pierre Matisse,
an art dealer, purchased Walking Woman.

This was a
significant choice do to the fact that the statue
was the beginning of the distinguishing works of
the last twenty years of Giacomettis life. To
Matisses eyes, none of Giacomettis future works
were In 1934 Giacometti began working from models
again. Because of this, the surrealist group
expelled him for his diversion and regarded it as
retrograde. The years that followed, Giacometti
alternated between life and memory. Oddly enough,
the typical characteristics of his works,
elongated distortions and two-dimention
characteristics, were much more pronounced
Following the German invasion of W.W.II,
Giacometti left Paris and stayed in Switzerland
until 1945. While in Switzerland, Giacometti met
Annette Arn, whom he married in 1949.

He was kept
from the military service because of a disability
he acquired after being struck by a car prior to
the war. During the time of the war, Alberto
Giacometti suffered from anxiety and his
sculptures seemed to be getting smaller and
smaller. According to Giacometti, he could not
explain why his statues became so small. I could
not understand it. All my statues ended up one
centimeter high. One more touch and hop! the
statue vanishes.

Though, some inferred that his
sensitivity to the nature of human existence was
intensified by the horror of the war. Toward the
end of his life, Giacometti had come to the
conclusion that he did not need to leave his
studio to find the world. For the majority of his
future life, Giacometti concentrated on depicting
three themes: a portrait of a head, a woman
standing, and a man walking. Each of his
sculptures was the result of a frenzy of repeated
creations and destruction, but he acknowledged
that the final version is in no way an improvement
over the first. His reason for repeating the
process was to deepen his own understanding of the
problem posed before he could leave it. Giacometti
demanded that he found truth in his work.

Giacomettis artwork seemed so intimate and
personal, and his subjects were loved ones.
Though, the surfaces have all been described as
decaying or exploding flesh, and the forms are
always hauntingly distorted. The figures even look
as to be isolated from an environment or other
individuals. His paintings and drawings reveal the
same kind of intensity as his sculptures.
Typically they are simple frontal poses and though
the face is entirely sketched, its always densely
reworked, redrawn or painted or rubbed out
innumerable times on the same canvas. Using hues
of black, gray and brown, the resulting effect is
oddly haunting; the gaze of the subject is
impossibly heavy. The somber hues of black, brown
and gray fill his drawing and paintings. It is
striking that Giacometti was able to focus his
attention so acutely on a few simple subjects in
his effort to comprehend the world.

Through this
work he revealed such complexity and depth.
Picasso considered Giacometti to be one of the
greatest sculptors of the twentieth century. His
artwork depicted the brutality of life, but showed
a yearning for another kind of existence.

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