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拍品专文
Têtes, bustes et pommes evokes the charged atmosphere of Giacometti’s workspace in Montparnasse. Having moved there in December 1926, the modest studio remained the centre of his creative life over the next forty years, becoming a place of obsessive engagement where the artist's physical environment mirrored the workings of his mind.
Returning to the building in 1945, he resumed his practice amid his familiar clutter, which over time became a living archive of both completed works and abandoned ideas, each object and mark bearing witness to his ongoing pursuit of presence and perception. Contemporary accounts describe walls covered with swiftly executed sketches, maquettes and plaster figures clustered across tables and floors, and accumulations of drawings and paintings layered with dust, clay, and plaster. Within this seemingly chaotic but willful environment, Giacometti’s studio assumed the character of an interior landscape, reflecting the interplay of perception, memory, and imagination that animated his practice, and giving context to drawings such as Têtes, bustes et pommes, in which figures and forms seem to inhabit both the material and psychological dimensions of the space.
As the artist and publisher Alexander Lieberman recalled, 'The walls are gray, the sculptures gray and white, interspersed with the sepia accent of wood or the full glint of bronze […] In the darker corners of the room, the long, narrow life-size figures seem like apparitions from another planet' (quoted in: The Artist and His Studio, New York, 1960, p. 277). This description of Giacometti's workspace echoes that of the present lot - amidst dense, intersecting lines cutting through the white surface of the paper, elongated figures and spectral heads emerge and recede within the confines of the artist’s studio. As in Atelier I (1950), the studio serves as a projection of the artist’s psyche. Giacometti translates the spatial and emotional intensity of his workspace, rendering the room itself as a vivid reflection of his mind, populated by the figures, objects, and 'ghosts' of creative thought that surrounded him.
Both works reveal how intimately Giacometti’s environment informed his imagination, and illustrate his wish to 'render [his] vision' by capturing not only what he saw but also the deeper, almost transcendental impressions that underlay his perception (quoted in: Alberto Giacometti, The Museum of Modern Art, New York, 2001, p. 31), emphasizing his pursuit of a presence that extends beyond mere surface appearance. This delicate balance is evident in Têtes, bustes et pommes where perception and invention converge within the space of the atelier.
Returning to the building in 1945, he resumed his practice amid his familiar clutter, which over time became a living archive of both completed works and abandoned ideas, each object and mark bearing witness to his ongoing pursuit of presence and perception. Contemporary accounts describe walls covered with swiftly executed sketches, maquettes and plaster figures clustered across tables and floors, and accumulations of drawings and paintings layered with dust, clay, and plaster. Within this seemingly chaotic but willful environment, Giacometti’s studio assumed the character of an interior landscape, reflecting the interplay of perception, memory, and imagination that animated his practice, and giving context to drawings such as Têtes, bustes et pommes, in which figures and forms seem to inhabit both the material and psychological dimensions of the space.
As the artist and publisher Alexander Lieberman recalled, 'The walls are gray, the sculptures gray and white, interspersed with the sepia accent of wood or the full glint of bronze […] In the darker corners of the room, the long, narrow life-size figures seem like apparitions from another planet' (quoted in: The Artist and His Studio, New York, 1960, p. 277). This description of Giacometti's workspace echoes that of the present lot - amidst dense, intersecting lines cutting through the white surface of the paper, elongated figures and spectral heads emerge and recede within the confines of the artist’s studio. As in Atelier I (1950), the studio serves as a projection of the artist’s psyche. Giacometti translates the spatial and emotional intensity of his workspace, rendering the room itself as a vivid reflection of his mind, populated by the figures, objects, and 'ghosts' of creative thought that surrounded him.
Both works reveal how intimately Giacometti’s environment informed his imagination, and illustrate his wish to 'render [his] vision' by capturing not only what he saw but also the deeper, almost transcendental impressions that underlay his perception (quoted in: Alberto Giacometti, The Museum of Modern Art, New York, 2001, p. 31), emphasizing his pursuit of a presence that extends beyond mere surface appearance. This delicate balance is evident in Têtes, bustes et pommes where perception and invention converge within the space of the atelier.