拍品专文
The use of a columnar base to support the bust draws upon an artistic tradition dating back to ancient Greece. In contrast to later busts of his brother Diego which Giacometti modeled with naturalistic proportions (for example, Diego sur stle I, 1958; Lamarche-Vadel, no. 221), the present work applies knife-like edges to produce a sense of great immediacy.
Although still gaunt, the sculptures of the 1950s are rarely skeletal... Giacometti explored the tangible nature of sculpture and developed more expressively modeled surfaces. His hands traveled restlessly up and down the forms--feeling, kneading, manipulating the material, especially the maleable clay used for the portrait busts. Besides his bare hands, he used a modeling knife and spatula to bite into the surfaces where he wanted to focus intensity, usually in the face and especially the eyes. (V.J. Fletcher, exh. cat., Alberto Giacometti 1901-1966, Hirshhorn Museum and Sculpture Garden, Washington, D.C., 1988, p. 43)
Although still gaunt, the sculptures of the 1950s are rarely skeletal... Giacometti explored the tangible nature of sculpture and developed more expressively modeled surfaces. His hands traveled restlessly up and down the forms--feeling, kneading, manipulating the material, especially the maleable clay used for the portrait busts. Besides his bare hands, he used a modeling knife and spatula to bite into the surfaces where he wanted to focus intensity, usually in the face and especially the eyes. (V.J. Fletcher, exh. cat., Alberto Giacometti 1901-1966, Hirshhorn Museum and Sculpture Garden, Washington, D.C., 1988, p. 43)