Alberto Giacometti

With an introduction by Peter Selz and an

autobiographical statement by the artist. Museum
of Modern Art, New York in collaboration with the
Art Institute of Chicago, the Los Angeles County
Museum, and the San Francisco Museum of Art

Author

Museum of Modern Art (New York, N.Y.)

Date
1965

Publisher
Distributed by Doubleday

Exhibition URL

www.moma.org/calendar/exhibitions/2869

The Museum of Modern Art's exhibition history—

from our founding in 1929 to the present—is
available online. It includes exhibition catalogues,
primary documents, installation views, and an
index of participating artists.

MoMA © 2017 The Museum of Modern Art

Archive
MoMA
768
120 pages, 112 illustrations (16 in color) $7-95

" The task of Giacometti ... is not to enrich

the galleries with new work , but to prove
that sculpture itself is still possible."
JEAN-PAUL SARTRE

Working alone, never connected for very

long with any movement and with neither
followers nor imitators, Alberto Giacometti
has created a body of work that is extraor
dinary for its beauty and insight. Despite
the many different forms his art has assumed,
its essential validity has long been recog
nized if seldom defined.
This book, the catalog of a comprehen
sive exhibition of Giacometti's work organ
ized by The Museum of Modern Art, brings
together an unprecedented richness of illus
tration with the artist's own explanation of
his aims and intentions in an autobiographi
cal letter to his friend and agent Pierre
Matisse. The letter, reproduced in facsimile
as well as in translation in order to include
the many explanatory drawings of the orig
inal, reveals how intensely personal Giaco
metti's approach to form has been. As Peter
Selz writes in his critical introduction,
Giacometti's "linear paintings, nervous mo
bile drawings, and sculptures of 'petrified
incompletion' testify to a great artist's strug
gle to find an equivalent for the human
phenomenon."
A full chronology by Irene Gordon iden
tifies the major events in Giacometti's career,
and a selective bibliography includes the
most useful and informative published
works about him. The r 12 illustrations, six
teen of them in color and many reproduc
ing photographs of exceptional beauty by
Herbert Matter, constitute a pictorial rec
ord of Giacometti's activity and accom
plishment in all the media he has explored.

The Museum of Modern Art

11 West 53 Street, New York, N. Y. 10019
Distributed by Doubleday & Company ,
Inc., Garden City, New York
 ALBERTO GIACOMETTI

errata

Frontispiece PHOTOGRAPH BY HERBERT MATTER.

Page 6, line 16 For HEAST read HEARST.
Page 13, left column Transpose last twenty lines (chronological
notes for 1940 to 1947) to top of column.
Page 16, line 1 Insert parenthesis after TIME.
Page 24, line 6 For PALECE read PALACE.
P age 37, upper caption For SWENNEY read SWEENEY.
Page 66, caption For WEID read WEIL.
Page 115, item 8
For PRIVATE COLLECTION read ANDRE BRETON.
Page 115, item 27 For KOBACHER read KOB ACKER.
Page 116, item 51
For COLLECTION MR. AND MRS. HARRY W.
SHERWOOD read PIERRE MATISSE GALLERY.
alberto giacometti
k§4 iMfta

4f4m
alberto giacometti

with an introduction by Peter Selz and an autobiographical

statement by the artist • the museum of modern art, new york

in collaboration with the art institute of Chicago, the los angeles

COUNTY MUSEUM OF ART, ejrTHE SAN FRANCISCO MUSEUM OF ART

distributed by Doubleday & Company, Garden City, New York

(c) 1965, The Museum of Modem Art
11 West 53 Street, New York, N.Y. 10019
Library of Congress Catalogue Card No. 65-23847
Printed in U.S.A.
Designed by Mary Ahern
TRUSTEES OF THE MUSEUM OF MODERN ART

David Rockefeller, Chairman of the Board; Henry Allen Moe, Vice-

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THE TRUSTEES OF THE ART INSTITUTE

OF CHICAGO
officers: William McCormick Blair, President, Perc B. Eckhart,
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honorary trustees: Mrs. Tiffany Blake, Mrs. Leigh B. Block, Mrs.
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Thorne, Mrs. Suzete Morton Zurcher.
ex officio: Richard J. Daley, Mayor of the City of Chicago, Otto
H. Loser, Acting Comptroller, City of Chicago, James H. Gately,
President, Chicago Park District, Albert J. Wilcox, Director of
Finance and T reasurer, Chicago Park District.
 TRUSTEES OF THE LOS ANGELES COUNTY
MUSEUM OF ART

Edward W. Carter, President; Sidney F. Brody, Vice-President; Mrs.

Freeman Gates, Vice-President; Franklin D. Murphy, Vice-Presi
dent; Mrs. Rudolph Liebig, Secretary; David E. Bright, + Treasurer;
Howard Ahmanson, Richard F. Brown, Justin Dart, Charles E. Du-
commun, Joseph B. Koepfli, Charles O. Matcham, Vincent Price,
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Mrs. Kellogg Spear, Maynard J. Xoll, Mrs Stuart E. Weaver, Jr.
t Deceased

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MUSEUM OF ART

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ex officio: Mrs. Francis V. Kessling, Jr., President, Women's Board;
Mrs. John Bamsten, Chairman, Membership Activities Board.

I
ACKNOWLEDGMENTS

For young painters and sculptors Alberto Giacometti occupies a

position apart from that of all other living artists. His work, neither
imitated nor slandered, is out of competition. Like a saint, he is placed
in a niche by himself. "It is still possible to work like Giacometti,"
his younger colleagues say, taking comfort from his integrity as they
proceed about their own business. Although his work, changing rela
tively little over a period of almost twenty years now, is very famil
iar, its resources are inexhaustible and the impact of his approach is
inevasible.
On behalf of the Trustees of The Museum of Modern Art, the Art
Institute of Chicago, the Los Angeles County Museum of Art, and
the San Francisco Museum of Art, I wish to express my greatest
gratitude to Alberto Giacometti himself for his gracious co-opera
tion and the many hours he has given to me in Paris, in St.-Paul-de-
Vence, and in Stampa. It is a pleasure to record my thanks to the mu
seums and individuals (listed on page 120) who have graciously
consented to part with their sculptures, paintings, or drawings for so
long a period.
My sincere thanks are due Mr. Pierre Matisse for his untiring help
and co-operation, to Miss Irene Gordon for supervising this publica
tion, to Miss Alicia Legg for editing the catalogue, to Miss Therese
Varveris for curatorial assistance, to Miss Inga Forslund for assem
bling the bibliography, and to Mr. Wilder Green for the installation
of the exhibition in New York. I am also greatly indebted to the fol
lowing persons, whose advice and co-operation greatly facilitated
this undertaking: Mrs. Margaret Scolari Barr, Mr. Hans J. Bechtler,
Miss Fran£oise Boas, M. Louis Clayeux, Mr. Kenneth Donahue, Miss
Helen M. Franc, Mr. Abram Lerner, Mr. William S. Lieberman, M.
Aime Maeght, Mr. Herbert Matter, Mrs. Mercedes Matter, Mr. A.
James Speyer, and Mr. David Sylvester.
Our gratitude is also extended for the special assistance rendered
by the Alsdorf Foundation, the Joseph H. Hirshhorn Foundation,
the Reader's Digest Association, Inc., and to Mr. William Inge and
Mr. Joseph Pulitzer, Jr.
Peter Selz
Director of the Exhibition
 INTRODUCTORY NOTE
by Peter Selz

"To render what the eye really sees is impossible," Giacometti re

peated one evening while we were seated at dinner in the inn at Stam-
pa. He explained that he could really not see me as I sat next to him
—Iwas a conglomeration of vague and disconnected details—but that
each member of the family sitting across the room was clearly visible,
though diminutive, thin, surrounded by enormous slices of space.
Everyone before him in the whole history of art, he continued, had
always represented the figure as it is; his task now was to break down
tradition and come to grips with the optical phenomenon of reality.
What is the relationship of the figure to the enveloping space, of man
to the void, even of being to nothingness?
The philosophical and emotional implications of the problem he
poses do not overly concern him. The loneliness of his figures, that
elusive quality upon which all his critics and admirers—it seems im
possible to be one without being the other —have commented, is, in
so far as he is concerned, the effect of his retinal vision. His friend
Jean Genet, for example, has Giacometti's objects saying, "I am
alone, I am transfixed in a necessity which you cannot disturb. As I
am what I am, I am indestructible. Being what I am and without
reservation, my solitude knows about your solitude." His figures may
indeed evoke this feeling of loneliness and alienation, but this is by
no means the artist's purpose. He strives to discover the visual ap
pearance and to render it with precision —not the reflections of light
which occupied the Impressionists, nor the distorted view of the
camera which fails to register distance, but the object as it is con
tained in space, as seen by the human eye, the artist's eye.
The eye is man s miraculous instrument: it is both the mirror of
self and its means of communication. Giacometti stares at people's
eyes, hoping thus to understand them. He says that the blind seem to
think with their eyes, and that the difference between a living person
and a corpse is the gaze. In his painting and his sculpture he concen
trates on the eye. "It should be enough to sculpt the eyes," he has
said. In his painted portraits all the lines converge intensely on the
eyes. If he could render a single eye correctly, he maintains, he
would have the head, the figure, the world.
Jean-Paul Sartre has declared that "after three thousand years, the
task of Giacometti and of contemporary sculptors is not to enrich
8
the galleries with new work, but to prove that sculpture itself is still
possible." Giacometti is aware of this predicament, and his attempts
to resolve it have led him to the problem that absorbs him today—to
render precisely what he sees at a given distance. This distance—
which creates the space containing the object—has become absolute:
it is about nine feet, the distance from which his glance, focusing on
the model's eye, can organize the whole. The result is a pervasive
presence. The figures—in his paintings, his drawings, his sculpture-
become clearest when we focus on them least. A standing nude fe
male figure or a head of Diego, becomes increasingly vague as we
approach it. At close range, the nose, chin, breasts do not reveal
themselves: they disintegrate and we are left only with a vital surface
of light flickering over the rough bronze—crater-like surfaces which
remain witnesses of the artist's struggle. But the figures retain their
integrity. They do not allow us to come into intimate contact with
them. They remain unreachable and can only be seen at the distance
from which they were modeled or painted. Within the space that
contains them, they become real. To be in a room with a figure by
Giacometti is not to enjoy an object but to experience a presence.
Giacometti is constantly at work. His hands never rest but move
up and down modeling the clay on the armature, drawing figures and
hands on paper napkins, envelopes, table tops. His work is continu
ous. He draws, builds, destroys, paints, models—one activity leading
into the other without interruption. Nothing is ever finished. When
painting, he builds up, paints over, makes changes, and finally stops,
hoping to achieve the goal next time. He may turn his clay models
over to his brother Diego for casting, but when he sees the plaster he
is likely to hack away at it and when confronted with the bronze, to
paint on it, in a constant process of growth, or rather, search, that will
never end. Like other artists of his generation he is engaged more in
the adventure than concerned with the result. Each work is a step
for him, a study for new work, for the task of achieving the impos
sible: to render reality truly as it appears to the eye and yet to make
a sculpture or a painting which, somehow, can find its place in the
history of art.
All his life he has copied works of the past, hoping thereby to find a
path in his search: Egyptian (page 105), Cycladic and African sculp
ture, the Roman portraits of the Faiyum, and Byzantine mosaics; he
has done copies of the work of Cimabue and Giotto, Conrad Witz
and Albrecht Diirer, Tintoretto, Rubens and Callot, Corot and Ce
zanne, as well as of his contemporaries. But he believes, finally, that
the task of art has always been insurmountable, that all the achieve
ments of the past were only tentative efforts, and that only his own
work can lead him toward a greater understanding of the nature of
reality.
The subject, although repetitious, is not a matter of indifference.
He depicts his brother and his wife and his intimate environment.
The landscapes at Stampa remain the same, as do the interiors and
9
 still lifes. The figures, the standing females, hands on hips, who seem
to be offering themselves in their elusiveness, the male heads, or walk
ing men, hardly ever vary. They do not have much individuality;
nothing, in fact, would interest Giacometti less than a psychological
interpretation of the individual. Indeed, the longer a person sits for
him, the more unknown, almost terrifying, he becomes. It is the basic
structure of the head, not the personality of the sitter, that concerns
him, not man's individuality but, rather, his universality. In this re
spect he recalls his important Swiss predecessor, Ferdinand Hodler,
whose "parallelism" was the stylized symbolic expression of human
solidarity.
Giacometti is convinced that this expression of universality can be
achieved only by means of the most painstaking study of nature. He
first modeled a head from nature in 1914 when he was a young boy
—a head, he points out, that was the same size as those of his current
endeavors. He studied first with his father, the well-known Impres
sionist painter Giovanni Giacometti, then in Geneva, and finally
with Bourdelle in Paris. As he explains in his autobiographical letter
(pages 14-29), he soon gave up his hope of being able to work from
nature, so he abandoned the model and, about 1925, began working
from memory and imagination. For ten years he engaged in a series
of highly original experiments. Subject to various influences, primi
tive and archaic carving as well as then-current Cubist sculpture (the
work of Laurens and Lipc'hitz was of considerable interest to him),
he yet affirmed a personality entirely his own. This became apparent
as early as 1926 when he exhibited his Couple (page 33) at the Salon
des Tuileries, at Bourdelle's invitation. These bizarre and amusing
monoliths and the monumentally concave Spoon Woman (pages 30,
31) combine a powerful plastic confrontation with symbolic erotic
content. Of great importance was a series of heads with oval indenta
tions (page 32) which had become flat during the working process
without the sculptor's intention. Soon he felt the need of opening his
forms and made undulating or static grill-like forms (pages 34, 35),
and then open cages where he was able to analyze the object from the
inside. Caves and enclosures dominate his memories of childhood-
no wonder then that sculpture for him was to become the hollowing
out of space. The cages, to which he turned around 1930, reach their
climax in the fantastic Palace at 4 A.M. (page 45) which was com
pletely realized in his mind in all its absurd precision before it was
made.
Constantly searching for new sculptural concepts, he was also in
terested in the possibilities of obtaining actual kinetic movement and
constructed his Suspended Ball (page 36) in which a cloven sphere,
held by a thread, can be made to slide along a crescent-shaped object.
His frank erotic symbolism, the near-abstraction of his work, his
exploitation of the dream and reliance on the unconscious, brought
him into close contact with the Surrealists, and for a brief time he
took part in their exhibitions and wrote for their publications. But
10
whereas they seemed satisfied once they had found a certain style
and imagery, Giacometti continued to experiment, discovering new
forms and symbols, such as the frightening Hand Caught by a Finger
(page 37), a fiendish system of gears which, if they did function,
would grind the hand to bits. The violent and destructive aspects of
his imagination and an obsession with sexual murder is revealed most
clearly in the Woman with Her Throat Cut (page 38), a nightmarish
image, part woman, part animal, part machine. In the Invisible Ob
ject (page 43), on the other hand, his frightened self and his per
petual fear of the void find a mysterious climax. Simultaneously with
work of this Surrealist nature, Giacometti also explored the solidity
of objects, making his remarkable Cubist Head (page 40), which
once again shows his fascination with man's glance.
But all the time he was aware that the day was not far off when he
would once more have to sit down before a model and come to grips
with the visible world. This became clear to him while he and Diego
were engaged in the design and manufacture of vases, lamps, chairs,
and tables for a fashionable Paris decorator. He realized that he was
working on vases the same way he worked on sculptures, and he de
cided that a clear distinction had to be made between the manufac
ture of a fine object and the mystery of sculpture.
He went back to working from life, expecting, as he recalled in his
letter to refresh his eyes for two weeks; instead he was to work all
day for five years. There was a time when the human form became no
bigger than a pin (page 47) and, reduced almost beyond its ultimate
minimum, was barely able to withstand the onslaught of the void.
Then, slowly, after the war, new figures began to emerge, elongated
effigies rooted to their bases with enormous feet, superbly arresting
in their immobility.
The reduction that had taken place was not only in the almost as
cetic thinness of the figure. The compelling Hand of 1947 (page 48)
is more powerful in its effect than the caught hand of fifteen years
earlier, precisely because it has abandoned all paraphernalia and exists
with a mysterious power and contained violence. In the late forties he
created unforgettable group compositions, of men passing each other
in anxious search of their loneliness (page 56), or standing straight
and detached like trees in Alpine forests (page 54), or separated from
the viewer by an insurmountable chasm of space (page 60).
In his paintings, which begin again after the war, the problem of
distance is also dominant: the repeated framing device isolates the
sitter into an environment that is remote and uncertain. These grisaille
paintings with their restrained colors seem out of place in a time when
our sensibilities are constantly blunted by the brilliance of fresh and
garish color. But colors, Giacometti feels, adhere to surfaces, and his
problem—the problem of the sculptor as painter—is to grasp the to
tality of the image in space. His linear painting, nervous mobile
drawings, and sculptures of "petrified incompletion" testify to a great
artist's struggle to find an equivalent for the human phenomenon.
11
 CHRONOLOGY
1927 Moves into the studio on the rue Hippolyte-
Compiled by Irene Gordon Maindron which he still occupies, to which
Diego's workrooms are adjacent.
1928 Continues to develop the tablet-like sculptures
and begins to make openwork structures
190 1 Alberto Giacometti born October 10 in Stampa (Three Persons Out Of Doors, Man and Wom
an). Meets Teriade, Andre Masson, and Michel
(Grisons), Switzerland, a small village near the
Italian border, to Annetta and Giovanni Gia Leiris, who becomes one of his closest friends.
Also meets the dissident members of the Sur
cometti (1868-1933), a well-known Impression
ist painter. realist group: Queneau, Limbour, Desnos, Pre-
vert. Knows Miro and Calder.
1910- Begins drawing from nature at the age of nine.
1914 Paints his first picture, of apples, in 1913; in 1929- Development of the transparent constructions
1914 makes his first sculpture, a bust of his 1930 (Reclining Woman Who Dreams, Standing
younger brother Diego, which he still owns. Man). Makes his first "cage" sculpture (Sus
Uses other members of his family as models. pended Ball). Meets Aragon, Breton, and Dali.
Joins the Surrealists and becomes a participant
1915- Attends secondary school in Schiers (Grisons), in the group's activities, publications, and ex
1918 where he is interested in literature (the Ger hibitions. To earn their living he and Diego
man Romantics, Goethe, Holderlin) , the natu make chandeliers, vases, chairs, and other fur
ral sciences, and history. Continues to draw, nishings for the interior decorator Jean-Michel
paint, and sculpt. Frank, which they will continue to do for many
1919 Takes a three-month leave from school to con years. Exhibits objects with Miro and Arp at
sider what he wants to do and decides to devote the Galerie Pierre.
himself to art. Leaves the Ecole des Beaux-Arts 1931- Dislikes sculpture that gives an illusion of
in Geneva after three days because he is not 1934 movement and begins to make sculptures with
permitted to draw what he wishes and enters movable parts (Hand Caught by a Finger, No
the Ecole des Arts-et-Metiers where he studies More Play). The cage sculptures, which had
sculpture. consisted of single units, culminate in the more
1920- Accompanies father, commissioner of the Swiss complex Palace at 4 A.M. Dissatisfaction with
1921 pavilion at the Biennale, to Venice. Is attracted the objects he has been making begins to lead
to the mosaics in San Marco and to Bellini's him away from abstract pieces toward more
paintings, forms a passionate love for the works figurative sculptures, and the 10-year period of
°f Tintoretto but is even more impressed by working from the imagination ends with such
Giotto's frescoes which he sees on a trip to works as Walking Nude, 1 + / = 5, The In
Padua. Visits Florence and Assisi, where he is visible Object, and a series of skull-like heads.
overwhelmed by Cimabue's paintings; lives in Has first one-man show in 1932 in Paris at the
Rome for nine months where he is fascinated Galerie Pierre Colle; participates in the Sur
by the Egyptian collection in the Vatican mu realist exhibition at the Galerie Pierre Colle in
933; seum, admires Baroque art (Borromini) and J in 1934 has his first one-man show in New
Early Christian mosaics. Knows the work of York at the Julien Levy Gallery.
the Futurists. Copies many works of art, paints 1935 Begins to make sculptures from nature again.
portraits and landscapes. Begins two sculptured Is officially expelled from the Surrealist group.
busts but for the first time experiences diffi From now on will work from both life and im
culty working from the model and destroys agination, at times adhering to one method or
them before leaving Rome. the other for a period, more often following
1922- Arrives in Paris, January 1, 1922. Enters the both practices concurrently on different works
2 19 5 Academie de la Grande-Chaumiere, where he in hand. Friendships with Balthus, Gruber, and
stays for three years in Bourdelle's class. Tal Coat. Frequently sees Andre Derain whose
915~ 1 Takes his first studio, on the rue Froidevaux, work interests him enormously. Has 3 works in
1926 which he shares with his brother Diego. The the exhibition These-Antithese-Synthese held
difficulties experienced in Rome in working at the Kunstmuseum, Lucerne.
from life recur and he begins to work from his 1936 Has 8 works in the International Surrealist Ex
imagination— a practice that he will follow al hibition held in London at the New Burlington
most exclusively for the next 10 years. The first Galleries; 3 works in the exhibition Fantastic
works are of a Cubist nature (Torso). Influ Art, Dada, Surrealism at The Museum of Mod
ences from African art, Cycladic sculpture, and ern Art, New York.
the work of Laurens and Lipchitz lead at first 1938 Is run over by a drunken motorist; spends
to solid, compact structures (The Couple, The months in the hospital undergoing painful
Spoon Woman ) and thin, tablet-like works. Be treatment for his injured foot, while under con
gins to exhibit at the Salon des Tuileries. stant threat of amputation.

12
 1948- Continues making elongated figures whose 1957- Monumental figures (Walking Man I, Tall
1950 bronzed surfaces appear scarred and eroded; 1961 Figures l-l V ) conceived in connection with an
begins to paint some of them. Creates a series of outdoor project ( i960) . Concentration on elon
skeletal figures in motion ( City Square, Three gated figures and busts continues, but surfaces
Men Walking, Walking Quickly Under the begin to become more fluid, forms more
Rain ) and of figures located precisely in space rounded, resulting in more approachable fig
(Chariot, Four Figurines on a Base). The de ures (Monumental Head, Bust of Annette). His
sire for less rigidity is fulfilled, by accident, by paintings, too, achieve greater realism ( Caro
compositions made by grouping a number of line). Included in many group exhibitions in
figures, each of which had been created inde Europe and the United States; exhibits fairly
pendently ( Composition with Seven Figures regularly at his galleries in Paris and New
and a Head). Major exhibitions at the Pierre York; large exhibitions at Galerie Klipstein &
Matisse Gallery, New York, in 1948 and 1950; Kornfeld, Bern (1959), World House Gal
included in group exhibitions in Amsterdam leries, New York (i960). Wins sculpture prize
(1948) and Bern (1950); shares a two-man ex at the International Exhibition of Contempo
hibition with Andre Masson in Basel (1950). rary Painting and Sculpture, Carnegie Institute,
Pittsburgh (1961).
1951 Makes sculptures that are apart from the recur
rent themes of standing figures and portrait 1962 Awarded the grand prize for sculpture at the
busts (Horses [destroyed], Dog). First exhibi 1963 Biennale, Venice (1962); large retrospective
tion at the Galerie Maeght, Paris. exhibitions at the Museum of Fine Arts, Zurich
Makes a series of small, stubby figures in plaster (1962) and Galerie Beyeler, Basel (1963).
2"
95 I
'953 and bronze (Standing Nude) ; elongated figures 1964 Opening of the Fondation Marguerite et Aime
and busts also become more rounded. Becomes Maeght in St.-Paul-de-Vence in which his
interested in printmaking, especially lithogra works occupy a prominent place; chandeliers
phy. Included in group exhibitions in Basel and many furnishings for the museum made by
(1952), at The Museum of Modern Art, New Diego. Announcement of a plan to establish a
York (1952); one-man exhibition of 26 works foundation in Zurich to house and add to a
at the Arts Club, Chicago. large collection of sculptures, paintings, and
drawings. Wins the Guggenheim International
1954- Commissioned by the French Mint to make a
Award in an exhibition sponsored by the Solo
1955 medal of Henri Matisse, he makes many draw
mon R. Guggenheim Museum, New York.
ings of the aged artist shortly before Matisse's
death. Meets Jean Genet. Exhibitions in New
York at the Pierre Matisse Gallery and in Paris
at Galerie Maeght (1954); large retrospectives
held at the Solomon R. Guggenheim Museum,
New York, and by the Arts Council of Great
Britain in London (1955).
1956 Exhibits a series of monumental female figures
at the Biennale, Venice; large one-man show at
the Kunsthalle, Bern.
1940- Abandons working from a model and begins
1942 again to work from his imagination, which
leads to a series of minuscule figures. Sees Pi
casso often, becomes friendly with Sartre.
1942- Lives in Switzerland, primarily Geneva. Meets
1945 Annette Arm who will become his wife. Con
tributes drawings and articles— on Laurens, Cal-
lot—to the magazine Labyrinthe published by
Skira. The problem of the tiny figure contin
ues, and when he leaves Switzerland to return
to Paris his entire production of these years is
said to fit into 6 matchboxes. One-man show in
New York at Peggy Guggenheim's Art of This
Century gallery includes 9 earlier works.
1945- Returns to Paris. The difficulty of the tiny
1947 figure is resolved through drawing, and the
figures become larger, but now they satisfy him
only when they are tall and slender (Man
Pointing). Begins painting again, from nature: Plaster study for Tall Figure, i960.
still lifes, landscapes, and especially portraits. Outside the studio.

13
 A LETTER FROM ALBERTO GIACOMETTI
TO PIERRE MATISSE, 1947

First published in new york, pierre matisse gallery.

Exhibition of Sculptures , Paintings, Drawings,
New York, January 19-February 14, 1948.
Reproduced by permission of Pierre Matisse.

Here is the list of sculptures that I promised you, but I could not
make it without including, though very briefly, a certain chain of
events, without which it would make no sense.
I made my first bust from life in 1914, and continued during the
following years throughout the whole period of my schooling. I
still have a certain number of these busts and always look at the
first with a certain longing and nostalgia.
At the same time, and for many years before, I was drawing a
gieat deal and painting. In addition to drawing from nature and
illustrating the books I read, I often copied paintings and sculptures
from repioductions. I mention this because with only short inter-
luptions I have continued to do the same thing up to the present.
In 1919 I went to the Ecole des Beaux-Arts in Geneva for three
days, and then to the Ecole des Arts-et-Metiers in the same city to
study sculpture. I painted watercolors in the countryside and at the
lake shore, and did oil paintings at home.
In 1920-21 I lived in Italy. In Venice first, where I spent my days
looking mostly at the Tintorettos, not wanting to miss a single one.
To my great regret, on the day I left Venice, Tintoretto was a
little dethroned by the Giottos in Padua, and he in turn some
months later by Cimabue at Assisi.
I stayed nine months in Rome where I never had enough time to
do all I wanted. I wanted to see everything, and at the same time
I painted, figures, somewhat pointillist landscapes (I had become
convinced that the sky is blue only by convention and that it is
actually red), and compositions inspired by Sophocles and Aes-
14
 Voici la liste des sculptures que je vous ai promts^, mala Je
ne peux la faire qu'en y introduisant un certain enchaf nement, d'ail-
laurs tres sommatre, sang cela elle n'aurait aucun sens.
J'ai fait mon premier buate d'apres nature en 1914 at continual
les annees suivantes pendant toute l'epoque du college. Je possede
encore un certain nombre de ces bustes et je regarde toujours le
premier avec uno certaine envie et nostalgia.
En meme temps et bien des annees avant d^ja Je desainais beau-
coup et je faisaie de la peinture. A cote deg dessins d'apres
nature et des illustrations de livres que je lisais, je copiais
souvent des tableaux et des sculptures d'apres des reproductions.
Je cite ceci parce que j'ai continue la meme activite avec de tres
courtes interruptions jusqu'a present.
oine
ne
ne-^an» En 1919 j'etais pendant a p
3 '> a l'Ecole des Beaux-
" cL- S<t<- ^ A -i+i* +,*»— «=•*c< ^ ' /-*
o^av
version
ais Arts a Geneve. J d 1 'a pour c«±±e»c-i et je faisais
'Ufc
wrtO s des aquarelles dans les environs et au bord du lac et de la
peinture chez moi .
En 1930-21 j'ai vecu en Italie. A Venise d'abord ou j'ai
passe les journees a regarder les i'intoret surtout, ne voulant pas
qu'il y en ait un seul qui m'echappe.
i'intoret fut un peu detrSne, a ma grande peine, le jour meme
ou je quittai Venise par les Giotto de Padoue, et celui-ci, a son
tour, queiques mois plus tard, par Cimabue a Assist.
Je restai neuf mots a Rome Ou le temps me manqua toujours pour
faire tout ce que je voulais. J'avais envie de tout voir et en meme
temps je faisais de la peinture, des figures, des paysages un peu
pointilli stes ( j'avais acquis la conviction que le ciel n'est bleu
que par convention mai s rouge en realite ) et des compositions d'apres

15
 chylus whom I was reading at this time The Sacrifice of Iphigenia,
The Death of Cassandra , The Sack of Troy, etc.).
I had also begun two busts, one of them small, and for the first
time I could not find my way, I was lost, everything escaped me,
the head of the model before me became like a cloud, vague and
undefined. I ended by destroying them before I left. I spent a lot
of time in museums, in churches, in ruins. I was particularly im
pressed by the mosaics and the Baroque. I can recall each sensation
in front of each thing 1 saw. I filled my notebooks (a marvelous
sketch by Rubens comes to mind this very moment and the mosaic
in Saints Cosmas and Damian, and this is followed immediately by
thousands of other things, but I must hurry).
In 1922 my father sent me to Paris to attend the academy. (I
would have preferred in a way to have gone to Vienna where living
was cheap. At this period my desire for pleasure was stronger than
my interest in the academy.)
From 1922 to 1925 and later I was at the Academie de la Grande-
Chaumiere, in Bourdelle's studio. In the mornings I did sculpture
and the same difficulties I had had in Rome began again. In the
afternoons I drew.
I could no longer bear sculpture without color and I often tried
to paint them from life. I kept some of these for years, and then,
mostly to make room, I had them taken out and thrown away.
Impossible to grasp the entire figure (we were much too close
to the model, and if one began on a detail, a heel, the nose, there
was no hope of ever achieving the whole).
16
 2
Sophocle et Eschyle que .j e lisais a cette epoque ( Le Sacrifice
d'lphigenie, La Mort de Caaaandre, L'Incendie de Trole, etc. ).
J 'aval s commence aussi deux bustea, un petit, et, pour la
premiere foia, je ne m'en sortais pas, je me perdais, tout m'echap-
yait, la tSte du modele devant moi devenait comme un nuage, vague
et illimite. Je finis par lea detruire a la fin de mon aejour.
Je pasaais une grande partie du temps dans lea musees, lea eglisea,
las ruinea. J'etais surtout attire par lea mosafques et le Baroque.
Je me rappelle chaque sensation devant chaque chose que j'ai regar-
dea. Je rempliasais des carnets de copies ( Une merveilleuae ee-
qui 330 de Rubens qui me revient a la memoire en cet instant et la
moaaTque de St. Cosme et Damian, et celle-ci est suivie immediate-
ment par mille autres choses, mai a il me faut aller vite. ).
En 1932 mon pare m'envoya a Paris pour frequenter l'Academie.
(j'aurais prefere d'un certain cote aller a Vienne ou l'argent va-
lait peu. A cette epoque mon deair de plaisir etait plus fort que
mon inter§t pour l'Academie ).
De 1922 a 1925 et plus j'etais a l'Academie de la Grande-
Chaumiere, chez Bourdelle. Le matin je faisais la sculpture et les
memes difficultea qu'a Rome recommencerent . L'apres-tnidi je deaai-
nai a .
Je ne pouvais plus supporter une sculpture sans couleur et
tres souvent j'ai esaaye de lea peindre d'aprea nature. J ' en ai
garde quelquea-unes pendant des anneea et puis, pour faire de la
place surtout, je les ai fait dotrui re .
Impossible de saisir l'enaemble d *une figure (f^nous etions
beaucoup trop pre a du modele et ai on partait d'un detail, d'un
talon ou du nez, il n'y aval t aucun espoir de jamais arriver a un

17
 But if, on the other hand, one began by analyzing a detail, the
end of the nose, for example, one was lost. One could have spent
a lifetime without achieving a result. The form dissolved, it was
little more than granules moving over a deep black void, the distance
between one wing of the nose and the other is like the Sahara, with
out end, nothing to fix one's gaze upon, everything escapes.
Since I wanted nevertheless to realize a little of what I saw, I
began as a last resort to work at home from memory. I tried to do
what I could to avoid this catastrophe. This yielded, after many
attempts touching on cubism, one necessarily had to touch on it (it
is too long to explain now) objects which were for me the closest
I could come to my vision of reality.
This gave me some part of my vision of reality, but I still lacked
a sense of the whole, a structure, also a sharpness that I saw, a kind
of skeleton in space.

18
 - 3 -

»]
he Si par mstl r on commen5ait par analyserV'le£jout du nez, par
example, on etait perdu. On aurait pu y passer la vie sans arriver
a un resultat. La forme se defait, ce n'est plus que comme des
grains qui bougent sur un vide noir et profond, la distance entre
une aile du nez et l'autre est comme le Sahara, pas de limite, rien
a fixer, tout echappe. <
' *-**Ae^
e-i Comme je voulais tout de meme f a r ce que je voyais, j 'ai com
mence, en desespoir de cause, a travailler chez moi de msmoire. J'ai
tache de faire le peu que je ponvais sauver de cette catastrophe.
Ceci a donne,apres quantite d'essais qui touchaient au cubisme, on
devait forcement y toucher (c'est trop lon^ a/expliquer maintenant),
des objets qui etaient pour moi ce que je pouvai s faire de plus
/ ' - ' - y
proche 4 tanr&aLtCe .0 "1
iUvi u

pti

£p: r r clfru*
<41 y yyjw>t

Li
£
Ceci donnait pour moi une certaine partie de la vision de la
realite; mats il me manquait ce que je ressentais pour l'ensetable,
une structure, un cote aigu que j'y voyais aussi, une espece de
3q'ielette dans l'espace.

19
 Figures were never for me a compact mass but like a transparent
construction.
Again, after making all kinds of attempts, I made cages with open
construction inside, executed in wood by a carpenter.
There was a third element in reality that concerned me: move
ment.
Despite all my efforts, it was impossible for me then to endure a
sculpture that gave an illusion of movement, a leg advancing, a
raised arm, a head looking sideways. I could only create such move
ment if it was real and actual, I also wanted to give the sensation of
motion that could be induced.
Several objects which move in relation to one another.

20

MH
 - 4 -

Les figures n'etaient jamais pour moi une masse compacts, mai s

comma une construction transparent©.

Apres de nouveau touts espece d'essais, j'ai fait des cages
avec une construction libra a l'interieur, exeoutees en bois par
un menuisier. y

'( 1 y avait un troisieme element qui me touchait dans la

realitex le mouvement.
Ifalgretous raesefforts, il m'etait alors impossible de sup-
portar une sculpture qui donne 1*illusion d'un mouvement, une jambe
qui avance, un bras leve, une tete qui regarde de cfite. Ce mouve
ment, je ne pouvais 'le faire que reel et effectif, je voulais
donner aussi la sensation de le provoquer.

Plusieurs objets qui bougent l'un par rapport a 1*autre.

21
 But all this took me away little by little from external reality, I
had a tendency to become absorbed only in the construction of the
objects themselves.
There was something in these objects that was too precious, too
classical; and I was disturbed by reality, which seemed to me to be
different. Everything at that moment seemed a little grotesque,
without value, to be thrown away.
This is being said too briefly.
Objects without pedestals and without value, to be thrown away.
It was no longer the exterior forms that interested me but what I
really felt. (During all the previous years—the period of the acad
emy—there had been for me a disagreeable contrast between life
and work, one got in the way of the other, I could find no solution.
The fact of wanting to copy a body at set hours and a body to
which otherwise I was indifferent, seemed to me an activity that
was basically false, stupid, and which made me waste many hours
of my life.)
It was no longer a question of reproducing a lifelike figure but of
living, and of executing only what had affected me, or what I really
wanted. But all this alternated, contradicted itself, and continued by
22
 5

Mais tout ceci m'eloignait peu a peu da la realite exte

riaura, j'avais tendance a ne me passionner que pour la construc
tion das objets eux-memes.
II y avait dans ces objets un cote trop precieux, trop clas-
sique; et j'etais trouble par la realite qui me semblait autre.
Tout ma. semblait un peu grotesque, sans valeur, a jeter.
Ceci est dit d'une maniere trop sommai re .

Ce n'etait plus la forme exterieure des etres qui m'interes-

sait, mai s ce que je sentais aff ecti vement dans ma vie. (Pendant
toutss les annees precedentes (epoque de l'Academie), il y avai t
eu pour moi un contraste desagreable entre la vie et le travail,
l'un empechait l'autre, je ne trouvais pas de solution. Le fait
de vouloir copier un corps a heures fixes, et un corps qui m'etait
par ailleurs indifferent,' me semblait une activite fausse a sa
base, bete, et qui me faisait perdre des heures de vie ).
II ne s'agissait plus de presenter une figure exte rieurement
ressemblante, mai s de vivre et de ne realiser que ce qui m'avait
affecte, ou que Je desirais. Mais tout ceci alternait, se contre-

23
contrast. There was also a need to find a solution between things that
were rounded and calm, and sharp and violent. It is this which led
during those years (32-34 approximately) to objects going in direc
tions that were quite different from each other, a kind of landscape
—a head lying down; a woman strangled, her jugular vein cut; con
struction of a palece with a skeleton bird and a spinal column in a
cage and a woman at the other end. A model for a large garden
sculpture, I wanted people to be able to walk on the sculpture, to
sit on it and lean on it. A table for a hall, and very abstract objects
which then led me to figures and skull heads.
24
 - 6 -

disait et continuait par contrasts. Destr anssi de tronver 'ine

solution entre les choseg pleines et calmss et
aigues et violentes. Ce qui donna

—'j&CtL- ^

wt c^L^, IZT e, ?* <?»

£3^J 0€S***M.^O^t^jrvtv- U«e fo-ve^rv^

^Vueu.^

-"r -*

25
 I saw anew the bodies that attracted me in reality and the abstract
forms which seemed to me true in sculpture, but I wanted to create
the former without losing the latter, very briefly put.
A last figure, a woman called 1 + 1 = 3, which I could not
resolve.
And then the wish to make compositions with figures. For this, I
had to make (quickly I thought; in passing), one or two studies from
nature, just enough to understand the construction of a head, of a
whole figure, and in 1935 I took a model. This study should take (I
thought) two weeks, and then I could realize my compositions.
I worked with the model all day from 1935 to 1940.
Nothing was as I had imagined. A head (I quickly abandoned
figures, that would have been too much) became for me an object
completely unknown and without dimensions. Twice a year I began
two heads, always the same ones, never completing them, and I put
my studies aside (I still have the casts).
Finally, in order to accomplish at least a little, I began to work
from memory, but this mainly to know what I had gotten out of all
this work. (During all these years I drew and painted a little, and
almost always from life.)
26
 Je voyais de nouveau les corps qui m'atti raient dans la realite
et les formes abstraites qui me semblaient vraies en sculpture, mats
je voulais faire cela sans perdre ceci
Une derniere figure, une femme qui s'appelait 1+1=3
dont je ne me sortais pas.

Et puis le desir de faire des compositions avec des figures.

Pour cela 11 me fallait faire ( vite je oroyais^* en passant ) une
ou deux etudes d'apres nature, juste assez pour comprendre la cons
truction d'une tete, de toute une figure, et, en 1935, je pris tin
modele. Cette etude devait me prendre ( je pensaiB ) une quinzaine
de jours, et puis je voulais s compositions.
J'ai travaille avec modele toute la journee de 1935 a 1940.
. Rien n'etait tel que j'imaginais. Une tete ( je laissai/ de
cotef4es figures, s'en etait trop ) devenait pour moi un objet to-
talement inconnu et sans dimensions. Deux fois par an je commensals
deux tetes, toujours les m§mes, sans jamais aboucir, et je mettais
mes etudes a cote ( done j'ai encore les moules ).
Enfin, pour tacher de les_realiser un peu, je recommencai a
travailler #tC-memoire^ .paa^savoir mrtiwrt ce qui me restait de
tout ce travail. {Pendant t.outes ces annees j'ai dessine et fait
un peu de peinture

27
 But wanting to create from memory what I had seen, to my terror
the sculptures became smaller and smaller, they had a likeness only
when they were small, yet their dimensions revolted me, and tire
lessly I began again, only to end several months later at the same
point.
A large figure seemed to me false and a small one equally un
bearable, and then often they became so tiny that with one touch of
my knife they disappeared into dust. But head and figures seemed
to me to have a bit of truth only when small.
All this changed a little in 1945 through drawing.
This led me to want to make larger figures, but then to my sur
prise, they achieved a likeness only when tall and slender.
And this is almost where I am today, no, where I still was yester
day, and I realize right now that if I can draw ancient sculptures
with ease, I could draw those I made during these last years only
with difficulty; perhaps if I could draw them it would no longer
be necessary to create them in space, but I am not sure about this.
And now I stop, besides they are closing, I must pay.
28
 Mais voulant f ai r 0 ^ memoi re ca que j 'avals vu, a ma terreur,
las sculptures devanaient de plus en plus petites, elles n'etaient
ressemblantes que petites, et pourtant ces dimensions me revoltaient
et, inlassablernent, je recommengai s pour aboutir, apres quelquea

mois, au mame point.

Une grande figure etait pour moi fausse et una petite tout
ri 4. i ' "fA-i ->» ,
de meme mtole e-ef-y, ***• ^ -
4t+\+ '/to^lgtes^et figures s^-4tataut un peu vraies que mi nu scules. a
'
/7VWCV0 - syjl *

Tout ceci changea un peu en 1945 par le dessin.

A /V-tru£A3<^ fl£~>
3^e_j^&«drrrs&. tuut urix-faira des figures grandes,
winmflnt. pas o mi mai s alors, a ma surprise, elles n'etaient

ressemblantes que longuos et minces.

roucil^frponrd
ux \<»gg«- ' . -^- no p plus TFTTr~iifl
n al*) o .
x &L
Et c'est a peu pres ou j'en suis aujourd'hui, -assr-plut«_t
etuis hier encore, et Je m'aper<jois a l'instant que si je
frix—p
r* neux facilement dessiner les sculptures anciennes, j en e p o f
t^VT dessiner celles que j 'ai faites les dernieres annee^w^^^^ pou-
vais les dessiner, il ne serait plus necassai re de les faire dans
~ 1 *e space
J '
*** Cjec '
rjera'arrlte, d'ailleurs on ferme, il faut regler.

29
opposite: The Spoon Woman. 1926. Plaster, 47 !4" high.

below: The Spoon Woman. 1926. Bronze, 57%" high. Collection Mr. and Mrs. Arnold H. Maremont.

Torso. 1925. Bronze, 22/4" high. Museum of

Fine Arts, Zurich.
(Cast in exhibition, Collection Mr. and Mrs.
Arnold H. Maremont)

31
left: The Artist's Mother. 1927. Plaster, 11%" high.

below: Head. 1928. Bronze, 15%" high. The Florene

May Schoenborn and Samuel A. Marx Collection.

opposite: The Couple. 1926. Bronze, 23%" high. Mu

seum of Fine Arts, Zurich.
(Cast in exhibition, Collection Mr. and Mrs. Harry
Lewis Winston)
Man. 1929.Bronze, 15%" high. Collection Dr. and Mrs. Frank Stanton.
. . . / began as a last resort to "workat home from memory . . . . This yielded . . . objects
which were for me the closest 1 could come to my vision of reality
a structure , also a sharpness that 1 saw, a kind of skeleton in space. Figures
were never for me a compact mass but like a transparent construction.

Reclining Woman Who Dreams. 1929.Painted bronze, 15%" long. The Joseph H. Hirshhorn Collection.

35
 Despite all my efforts, it was impossible for me then to endure a sculpture
that gave an illusion of movement, a leg advancing, a raised arm,
a head looking sideways. I could only create such movement if it were real
and actual. I also wanted to give the sensation of motion that could be induced.

Suspended Ball. 1930-31.Wood and metal, 23%" high. Private collection.

36
 Objects without pedestals and without value, to be thrown away.

Disagreeable Object. 1931. Wood, 19" long. Collection Mr. and Mrs. James Johnson Swenney.

Several objects which move in relation to one another.

Hand Caught by a Finger (Main prise). 1932.Wood and metal, 23" long. Museum of Fine Arts, Zurich.

37
 It was no longer a question of reproducing a lifelike figure but of living,
and of executing only what had affected me, or what I really wanted.
But all this alternated , contradicted itself, and continued to conflict. There was also
a need to find a solution between things that were rounded and calm, and sharp and violent.
It is this which led during those years (32-34 approximately ) to
objects going in directions
that were quite different from each other ....a woman strangled, her jugular vein cut....

2" Woman with Her Throat Cut (Femme egorgee). 1932.Bronze, 34/ long. The Museum of Modern Art, N.Y.

38
No More Play. 1933.Marble, wood, bronze, 23 x 17/»". Collection Mr. and Mrs. Julien Levy.
 Head (detail of Man P ointing, 1947) . The Museum of Modern Art, New York.

Cubist Head. 1934-35. Bronze, 7" high. The Joseph H. Hirshhorn Collection.
opposite: Tall Figure, Half -Size. 1947. Bronze, 52" high. The Florene May Schoenborn and
Samuel A. Marx Collection.

I could have destroyed it. But I made this statue for

just the opposite reason—to renew myself. Perhaps
this is what makes it worthwhile.

Nude (Femme qui marche). 1933-34. Invisible Object (Hands Holding the Void) 1934-35. Bronze, 61
Bronze, 59" high. Museum of Fine high. Collection Mr. and Mrs. Lee A. Ault.
Arts, Boston. 43
 This object took shape little by little in the late summer of 1932; it revealed
itself to me slowly, the various parts taking their exact form and their
precise place within the whole. By autumn it had attained such reality that
its actual execution in space took no more than one day .
It is related without any doubt to a period in my life that had come to an end
a year before, when for six whole months hour after hour was passed
in the company of a woman who, concentrating all life in herself, magically
transformed my every moment. We used to construct a fantastic palace at night
—daysand nights had the same color, as if everything
happened just before daybreak ; throughout the whole time I never saw the sun—
a very fragile palace of matchsticks.
At the slightest false move a whole section of this tiny construction would collapse.
W e would always begin it over again.
I don't know why it came to be inhabited by a spi?ialcolunm in a cage
—thespinal column this woman sold me one of the very first nights I met her
on the street—and by one of the skeleton birds that she saw
the very night before the morning in which our life together collapsed—
the skeleton birds that flutter with cries of joy at four o'clock
in the morning very high above the pool of clear, green water where the extremely
fine, white skeletons of fish float in the great unroofed hall.
In the middle there rises the scaffolding of a tower, perhaps unfinished or,
since its top has collapsed, perhaps also broken.
On the other side there appeared the statue of a woman, in which I recognize
my mother , just as she appears in my earliest memories. The mystery of her long
black dress touching the floor troubled me;
it seemed to me like a part of her body, and aroused in me a feeling of
fear and confusion. All the rest has vanished, and escaped my attention. This
figure stands out against the curtain that is repeated three times,
the very curtain I saw when I opened my eyes for the first time
/ can't say anything about the red object in front of the board;
I identify it with myself.
The Palace at 4 A.M. 1932-33.Wood, glass, wire, string, 25" high. The Museum of Modern Art, New York.
Woman with the Chariot 1. 1942-43. Bronze, 61 %" high. Pierre Matisse Gallery, New York.

...I began to -work fro?n memory again .. ..to my terror the

sculptures became s?nallerand smaller, they had a likeness only
ivhen they were very small, yet their dimensions revolted me, and
tirelessly I began again, only to end several months later
at the same point.
A large figiire seemed to me false and a small one equally unbearable,
and then often they became so tiny that with
one touch of my knife they disappeared into dust. But head and
figures seemed to me to have a bit of truth only when small.

Figurines, c. 1945. Plaster over metal. Left, 4%" high; right, 3%" high, including
plaster bases. Collection Mr. and Mrs. Thomas B. Hess.
47
2" Man Pointing. 1947.Bronze, 70V high. The Museum of Modern Art, New York.
Gift of Mrs. John D. Rockefeller, 3rd.

Hand. 1947.Bronze, 28!4" long. Collection Mr. and Mrs. Paul Peralta-Ramos.
 page 52: Head of Diego. 1954. Bronze, 1314" high. Collec
tion Mr. and Mrs. Charles Zadok.

page 53: Bust of Diego. 1957. (Detail). Bronze, 24/2

high. The Joseph H. Hirshhorn Collection.

opposite: Head of a Man on a Rod. 1947. Bronze and plas

ter, 21 %" high. Collection Mr. and Mrs. William N.
Eisendrath, Jr.

below: Head of a Man on a Rod. 1947. Bronze, 24" high.

Collection Mrs. George Acheson.
lA" Three Men Walking. 1949. Bronze, i% high. Private col
lection, Paris.
(Cast in exhibition, Collection Mr. and Mrs. Burt Kleiner)

Composition with Seven Figures and a Head (The F orest). 1950. Painted bronze, 22 high.
The Reader's Digest Association.

The . . . seven figures one head . . . was also done by chance , as if involuntarily 1
came to realize impressions felt long before and which 1 saw in the sculpture
only when done / saw again a precise location where the head takes the form of
a stone, there are blocks of granite isolated among the trees, but
1 dreamed of doing these same heads almost twenty years ago
The composition with seven figures reminded me
of a forest corner seen for many years (that was during my childhood ) and whe? e
trees—behijid which could be seen granite boulders—with their naked and slendei trunks ,
limbless almost to the top , had always appeared to me like personages
immobilizd in the course of their wanderings and talking among themselves.

55
 opposite: Walking Quickly under the Rain. (Detail),

...a street during the rain and the figure was me. .
Me scurrying down a street in the rain.

Walking Quickly under the Rain. 1949.Bronze, 32" long. Collection Mr. and Mrs.
Gordon Bunshaft.

2" City Square. 1948.Bronze, 8'/ high, 25%" long. The Museum of Modern Art, New York.

56
A small figure in a box between two boxes that are houses.

Between Two Houses. 1950. Bronze and glass, 20" long. Private collection, Paris.
(Cast in exhibition, Collection Mr. and Mrs. Stanley Marcus)

1 see this room , I even see the curtains beside the women
(which is still not exactly the effect I wanted )
at the same time it's another proble?n, the desire
to abolish the base, trying to have a limited space to further
realize a head and a figure
I saw this composition in its form and color before 1 started
it, but the figure had raised arms and open hands.
This quickly became unbearable

The Cage. 1950-51. Bronze, 67" high. Collection Aime Maeght.

opposite: The Cage. Painted bronze. (Detail).

58
 Several nude women seen at the Sphinx while I was
seated at the end of the room.
The distance that separated us (the polished floor),
which seemed impassable despite my desire
to cross it, impressed me as ?nuch as the women did.

Four Women on a Base. 1950.Painted bronze, 31" high. Museum of

Art, Carnegie Institute, Pittsburgh.

/ could also name the Chariot " The Fharmacy Wagon," because this sculpture comes from
the glittering wagon that was wheeled around the rooms of the Bichat hospital,
which astonished me in 1938— In 194CJI saw the sculpture before ?neas if it were finished,
and in 1930 it became impossible for me not to make it, even though for me
it was already in the past
(this is not the only thing that prompted me to make this sculpture ) .
...The Chariot was created by the necessity again to have the figure in empty space
in order to see it better and to situate it at a precise distance from the floor.

Chariot. 1950.Bronze, 57" high. The Museum of Modern Art, New York.
60
It's me. One day I saw myself in the street just like that. I was the dog.

Dog. 1951. Bronze, 18" high. The Museum of Modern Art, New York. A. Conger Goodyear Fund.
Woman, Shoulder Broken (Femme, epaule cassee). 1958-59.Bronze, 27Zi" high. Collection
Dr. and Mrs. Leo Chalfen.
Bust of Annette IV. 1962.Bronze, 22VVhigh. Collection Sylvan and Mary Lang.
Bust of Diego. 1955.Plaster, 714" high. Collection
Mr. and Mrs. James W. Alsdorf.

Standing Nude. 1953. Painted plaster, 814" high. Woman. 1953.Bronze, 1914" high. The Joseph H. Hirshhorn
Private collection. Collection.
Head of Diego. 1954. Bronze, 26V2" high. (Casts in exhibition, Collection Mr. and Mrs. Sidney F. Brody;
Mr. and Mrs. Richard K. Weid)
 pages 68-69: Nine Standing Figures ( Venice). 1956.Average height 45". Pierre Matisse Gallery.
left to right: Numbers 2,4, 6, 9, 7, 1, 8, 3, 5.

Head. 1952.Bronze, 15" high. Collection Aime Maeght.

Leg. 1958-59. Bronze, 7' high., Pierre
Matisse Gallery.

opposite left: Head of Diego on

Stele I. 1958. Bronze, 63 14" high.
Pierre Matisse Gallery.

opposite right: Head of Diego on

Stele 111. 1959. Bronze, 65%" high.
(Cast in exhibition, Collection
Aime Maeght)
Tall Figures, i960. Bronze, left to
right: Number I, 8'io!4 Pierre
Matisse Gallery; Number III, 7'9",
Collection Mr. and Mrs. Gordon
Bunshaft; Number II, 8' 1'/I Pri
vate collection; Number IV,
8' 1014", Pierre Matisse Gallery.

Walking Man I. i960. Bronze,

71%" high. Museum of Art, Car
negie Institute, Pittsburgh.
Monumental Head. i960. Bronze, 37Vi" high. The Joseph H. Hirshhorn Collection.

Bust of Annette. 1962.Painted bronze, 18V2" high. Private collection. Figure Standing^ 13). 1964. Bronze,
26V2"high. Pierre Matisse Gallery.
Diego atStampa. 1921. Oil, 24% x 19%". Owned by the artist.
2". Self-Portrait. (1921). Oil, 32/2 x zj/ Museum of Fine Arts, Zurich.
 Mftivas

Seated.Man. 1949.Oil, 30% x 1^/2". Collection Mr. and Mrs. Morton

G. Neumann.
Seated Figure in Studio. (1950). Oil, 39Vix 31 Collection Julian J. and Joachim Jean Aberbach.
The Artist's Mother. 1950. Oil, 35% x 24". The Museum of Modern Art, New York. Acquired through the
Lillie P. Bliss Bequest.
The Artist's Mother. (1937). Oil, 2314" x igYT'.Collection Airs. Pierre Matisse.
 m mmmi

The Artist's Mother. ( 1951) . Oil, 3614x 28%". Collection Aime Maeght.
4". The Studio. 1950.Oil, 25% x i8>/ Collection Mr. and Mrs. James W. Alsdorf.

ihhhhhhhhhhhhmihhhhhhhhhhhhhhhhh
Scene from Studio Window. 1950.Oil, 2114x 13!4". Collection Mr. and Mrs. James W. Alsdorf.
 —

Landscape. 1952.Oil, 18x 20". Collection Mr. and Mrs. Harry W. Sherwood.
 Iff* ' *&h%<7ii

Study of Heads. 1954. Oil, 31% x 23%". Collection Louis Figure. (1951). Oil, 43 / x zoVi". Collection Mr.
Clayeux. and Mrs. Joseph Bissett.
Study after the City Square. 1951. Oil, 24 x 19%". Collection Mr. and Mrs. Andrew C.
Ritchie.

87
 Annette. (1954). Oil, 25J4 x 21". Collection Mr. and Mrs. Arnold H. Maremont.

______
Annette. (1961). Oil, 45% x 35". Collection Mr. and Mrs. Jacques Gelman.
Sideboard (Le Buffet). 1957.Oil, 19% x 24". Collection Mr. and Mrs. Joseph L. Tucker.
CutoHtic, 1961. Oil, 45%" ^ 35"*Fr<ink sind Ursula L&urens Collection.
Head of a Man. (1961). Oil, 19 x 16". Collection Mr. and Mrs. Sidney L. Solomon.
Head. (1962). Oil, 3654 x 28 Collection Aime Maeght.
 /

~\
... J
J
Portrait of Simon Berard. (c.1918). Pen and ink,
12!4 x Collection James Lord.

Self-Portrait. 1937. Pencil, 19 x 1254". Collection Pierre

Matisse.
94
Head of a Woman. 1946.Crayon, 19Vlx 13%". Private collection.
Standing Nude. (1947). Oil on paper, 24% x 13Vz".Col
lection Eleanor Ward.

Figures on City Square. 1947.Pencil, 12% x 20". Collection Gene R. Summers.

96
Walking Man. (c.1950). Oil on paper, 26% x 20". Collection James Lord.
Annette in the Studio. 1956. Pen and ink, 14 x
gVz". Collection Mr. and Mrs. James W. Alsdorf.

Bust on Sculpture Stand. 1951. Crayon, 22 x

14%". Collection Ruth and Hermann Vollmer.
The Dormer Window. 1957.Pencil, 25% x 19%".
Courtesy The Museum of Modern Art.

'

Interior. 1951.Pencil, 14Vzx io!4". Private col

lection.

99
Vase of Flowers. 1959.Pencil, 19% x 12%". Private collection.
Bottles. 1956. Oil, 25/2 x 2114". Collection William Inge.
Portrait of David Sylvester, i960. Oil, 45% x 35". Collection Mr. and Mrs. Joseph Pulitzer, Jr.
Annette. 1961.Oil, 21% x 1754 The Joseph H. Hirshhorn Collection.
Caroline. 1962.Oil, 39!4 x 32". Collection Mr. and Mrs. Robert B. Mayer.
Sketch page. 1959.Pencil and colored crayon, 14% x wVz". Collection Dr. and Mrs.
Werner Muensterberger.
2 Jean-Paul Sartre. 1949.Pencil, ii'/z x 8V&".Collection Ruth Henri Matisse-Nice. 1954. Pencil, 18'/ x 12%". Col
and Hermann Vollmer. lection Alberto Giacometti.
 U*~~ -A'
fa., n /m.

Igor Stravinsky. 1957.Pencil, 15% x 11 15/16". Collection Self-Portrait (1955). 1914 x 1214". Private collection.
Mr. and Mrs. Robert D. Graff.

107
 Tree. 1952.Pencil, 20 x 13Zi". Collection Mr. and
Mrs. James W. Alsdorf.

opposite: Mountain. 1957. Pencil, 19% x 25%".

The Solomon R. Guggenheim Museum, New
,/S Ut < *i.. York.

108
 I7

Sill \
 J9?,c . *'•>* 4, 4 '•V*. /A'**
- (i^j 4-

Three Heads. 1962. Ball point pen, SVs x 6' Head of a Man and Torso of a Woman. (1962). Ball
Collection Pierre Matisse. point pen on paper napkin, 9% x 4%", irregular. Col
lection Ruth and Hermann Vollmer.
Self-Portrait. (1962). Ball point pen on paper napkin, 7% x 5", irregular. Collection Ruth
and Hermann Vollmer.
Ill
 SELECTED BIBLIOGRAPHY Derain. Derriere le miroir no. 94/95:7-10, February-
March 1957.
A comprehensive bibliography compiled by Inga
A chacun sa realite. XXe siecle n.s. no. 9:35, June
Forslund, Reference Librarian at The Museum of
' Modern Art, is available in the Library of the Mu I957
Giacometti's answer to an inquiry by Pierre Vol-
seum. The items listed below represent a selection
boudt.
from that larger work.
Alberto Giacometti. Schriften, Fotos, Zeichnungen;
Essais, photos, dessins, Ed. Ernst Scheidegger. Zu
rich, Peter Schifferli Verlags AG, 1958.
Includes: Ma Realite — L'Espace — Poeme en 7
WRITINGS AND STATEMENTS BY GIACOMETTI
espaces — Le Rideau brun — Charbon d'herbe —
(arranged chronologically ) Hier, sables mouvants — Lettre a Pierre Matisse —
Le Reve, le sphinx et la mort de T. — Giacometti's
Ob jets mobiles et muets. Le Surrealis?ne an service catalogue of his early works — Gris, brun, noir.
de la revolution no. 3:18-19, December 1931. Most of the texts are translated into German. In
cludes photographs, drawings, chronology.
Charbon d'herbe; Poeme en 7 espaces; Le Rideau
brun. Le Surrealisme au service de la revolution no. Entretien avec Alberto Giacometti. In charbonnier,
5:15, May 1933. georges. Le monologue du peintre. Paris, Juillard,
Hier, sables mouvants. Le Surrealisme au service de '959, PP- *59-83-
la revolution no. 5:44-45, May 1933. [Statements]. In selz, peter. New Images of Man.
New York, The Museum of Modern Art, 1959, p.
[Answer to] Enquete [sur la rencontre] d' Andre
68.
Breton, Paul Eluard. Minotaur e no. 3/4: 109, Decem
ber 1933. Conversation with Giacometti. Art in America no.
4: 100-2, i960.
[Notes on the Palace at 4 A.M.]. Minotaur e no.
Interview by Alexander Watt.
3/4:46, December 1933.
Published in English translation as "1 + 1 = 3," Ma longue marche. L'Express (Paris), no. 521:48,
in Transformation (New York) v. 1, no. 3:165- June 8, 1961.
66, 1952. Interview by Pierre Schneider.
Dialogue: Andre Breton et Alberto Giacometti. Pourquoi je suis sculpteur. Arts (Paris) no. 873:1,
Documents (Brussels), n.s. no. 1:25, June 1934. June 13-19, 1962.
Interview by Andre Parinaud.
Henri Laurens: Un sculpteur vu par un sculpteur.
Labyrinthe no. 4:3, January 15, 1945. Au Louvre avec Alberto Giacometti. Preuves (Par
is), no. 139:23-30, September 1962.
A propos de Jacques Callot. Labyrinthe no. 7:3, Interview by Pierre Schneider.
April 15, 1945.
Le Reve, le sphinx et la mort de T. Labyrinthe no.
22: 12-13, December 23, 1946. monographs
Bucarelli, Palma. Giacometti. Rome, Editalia, 1962.
[Letter to Pierre Matisse]. In new york, pierre
Text in Italian, French, and English.
matisse gallery. Alberto Giacometti, Exhibition of
sculptures, paintings, drawings. January 19-Febru- Dupin, Jacques. Alberto Giacometti. Paris, Maeght,
ary 14, 1948. 1962.
Published also in an edition with an interleaved
[Letter to Pierre Matisse]. In new york, pierre
English translation by John Ashbery. — The
matissf, gallery. Alberto Giacometti. November
most authoritative and comprehensive monograph
1950.
in both text and illustrations published so far.
Temoignages. [L'espace]. XXe siecle n.s. no. 2:71-
Jedlicka, Gotthard. Alberto Giacometti als Zeich-
72, January 1952.
ner. Olten, i960.
Giacometti's answer to an inquiry regarding
space, partly in form of a poem. Moulin, Raoul-Jean. Giacometti Sculptures (Pe
tite Encyclopedic de Part, 62). New York, 1964.
Gris, brun, noir. Derriere le miroir. no. 48/49:2-3,
Translated from the French by Bettina Wadia.
6-7, June-July 1952.
On Braque. Yanaihara, Isaku. Giacometti. Tokyo, 1958.
Mai 1920. Verve v. 7, no. 27/28:33-34, January 15,
1953- general works
Drawings by Giacometti after Cimabue and Ce
zanne. Barr, Alfred H., Jr. (ed.) . Fantastic Art, Dada, Sur-

112
 realism. New York, The Museum of Modern Art, cometti. Art International v. 6, no. 5/6:38-45, Sum
1936; 2nd ed. 1937; 3rd ed. 1946. mer 1962.

Breton, Andre. L' Amour fou. Paris, Gallimard, C[urjel], HCans]. Alberto Giacometti. Werk v.
937* ! 50, no. i:sup. 14-15, January 1963.
On the occasion of the exhibition at the Kunst-
Char, Rene. Recherche de la base et du sommet sui- haus, Zurich.
vi de pauvrete et privilege. Paris, Gallimard, 1955.
C[urjel], H[ans]. Eine Alberto Giacometti-Stif-
Derriere le miroir. Paris, Maeght, October 1956. tung. Werk v. 51, no. 4:sup. 80, April 1964.
Special issue: 10 Ans d'edition. The proposal of a Giacometti Foundation at the
Giedion-Welcker, Carola. Contemporary Sculp opening of the exhibition in Landolt-Haus, Zu
ture. An Evolution in Volume and Space. New rich, 1964.
York, Wittenborn, i960. DCrexler], AIrthur]. Giacometti, A Change of
Enlarged and revised edition of the author's Mod Space. Interiors v. 109, no. 3:102-7, October 1949.
ern Plastic Art, Zurich, Girsberger, 1937.
G[asser], M[anuel] (ed.). Alberto Giacometti. Du
Hofmann, Werner. Die Plastik des 20. Jahrhun- v. 22, no. 252:2-46, February 1962.
derts. Frankfurt am Main, Fischer, 1958. Includes: Vorwort, by Manuel Gasser — Alberto
Joray, Marcel. La Sculpture moderne en Suisse Giacometti also Nachbar, by Herta Wescher —
(L'Art suisse contemporain, 12, 14). Neuchatel, Edi Alberto Giacometti in Genf 1942-1945, by Albert
Skira — Jugenderinnerungen an die Familie Gia
tions du Griffon, 1955-59.
Also published in German. cometti, by Christoph Bernoulli — Ein Gesprach
in Maloja, by Carola Giedion-Welcker — Aus
Piatte, Hans. Plastik (Die Kunst des 20. Jahrhun- einem Tagebuch, by Isaku Yanaihara — Alberto
derts). Munich, Piper, 1957. Giacometti und die Wirklichkeit, by Manuel Gas
ser — Photographs by Franco Gianetti. — Sum
Read, Herbert. The Art of Sculpture (Bollingen
mary in English.
Series, XXXV, 3). New York, Pantheon, 1956.
Genet, Jean. L' Atelier d'Alberto Giacometti. Der
Read, Herbert. A Concise History of Modern
riere le miroir no. 98, June 1957.
Sculpture. New York, Praeger, 1964.
Entire issue devoted to Giacometti. — Published
Ritchie, Andrew Carnduff. Sulpture of the Twen as a book, Decines (Isere), 1963, and in German
tieth Century. New York, The Museum of Modern translation, Zurich, Scheidegger, 1962.
Art, 1952.
Giedion-Welcker, Carola. Alberto Giacomettis
Selz, Peter. New Images of Man. New York, The Vision der Realitat. Werk v. 46, no. 6:205-12, June
Museum of Modern Art, 1959. 1959.

Seuphor, Michel. The Sculpture of This Century. Giedion-Welcker, Carola. New Roads in Modern
New York, Braziller, i960. Sculpture. Transition no. 23: 198-201, July 1935.
Translation of French ed., La Sculpture de ce Translated from the German.
siecle, Neuchatel, Editions du Griffon, 1959.
Greenberg, Clement. Giacometti. Nation v. 166,
Trier, Eduard. Moderne Plastik von Auguste Rodin no. 6: 163-64, February 7, 1948.
bis Marino Marini. Berlin, Gebriider Mann, 1954. On the occasion of the exhibition at the Pierre
Matisse Gallery.
Habasque, Guy. La XXXIe Biennale de Venise.
ARTICLES UOEil no. 93:32-41, 72-73, September 1962.
Ashton, Dore. Alberto Giacometti. Arts & Archi Hess, Thomas. Giacometti: The Uses of Adversity.
tecture v. 75, no. 7: 10, 31, July 1958. Art News v. 57, no. 3:34-35, 67, May 1958.
On the occasion of the exhibition at the Pierre
Matisse Gallery. Jouffroy, Alain. Portrait d'un artiste (8): Giaco
metti. Arts (Paris), no. 545:9, December 7-13, 1955.
Ashton, Dore. New Images of Man. Arts & Archi
5> tecture v. 76, no. 11:14, r 4°, November 1959. Kramer, Hilton. Reappraisals. Giacometti. Arts v.
On the occasion of the exhibition at The Museum 38, no. 2:52-59, November 1963.
of Modern Art.
Lanes, Jerrold. Alberto Giacometti. Arts Yearbook
: Breton, Andre. Equation de l'objet trouve. Docu 3 152-55, 1959-
ments (Brussels) n.s. no. 1:17-24, June 1934.
Leclercq, Lena. Jamais d'espaces imaginaires. Der
Clay, Jean. Giacometti's Dialogue with Death. riere le miroir no. 127:6- 16, May 1961.
Realites no. 161:54-59, 76, April 1964.
Leiris, Michel. Alberto Giacometti. Documents
Courtois, Michel. La Figuration magique de Gia (Paris), no. 4:209-14, September 1929.

113
 Leiris, Michel. Alberto Giacometti en timbre-poste Stahly, Francois. Der Bildhauer Alberto Giaco
ou en medaillon. L'Arc v. 5, no. 20:10-13, October metti. W erk v. 37, no. 6: 181-85, June 1950.
1962.
Sylvester, David. Perpetuating the Transient.
Published in Italian translation in La Biennale di
Introduction to the catalogue of the Giacometti
9^- Veneziav. 13, no. 48: 10-13, March l
exhibition organized by the Arts Council of Great
Leiris, Michel. Pierres pour un Alberto Giacomet Britain, London, June 4-July 9, 1955.
ti. Derriere le miroir, no. 29/30, June-July 1951.
Tardieu, Jean. Giacometti et la solitude. XXe siecle
Entire issue devoted to Giacometti; served as
n.s. v. 24, no. 18:13-19, February 1962.
catalogue to exhibition held at Galerie Maeght,
Paris. — A preliminary draft of the text by Leiris Waldberg, Patrick. Alberto Giacometti. L'Espace
was translated into English by Douglas Cooper et l'angoisse. Critique v. 15, no. 143:329-40, April
.
5
9 and published as "Thoughts Around Alberto Gia !
cometti," in Horizon v. 19, no. 114:411-17, June
1949. Watt, Alexander. Alberto Giacometti: Pursuit of
the Unapproachable. Studio v. 167, no. 849:20-27,
Liberman, Alexander. Giacometti. Vogue (New January 1964.
York) v. 125:146-51, 178-79, January 1955.
Wescher, Herta. Giacometti: A Profile. Art Digest
Limbour, Georges. Giacometti. Magazine of Art v. v. 28, no. 5: 17, 28-29, December 1, 1953.
41, no. 7:253-55, November 1948.
Wilbur, Richard. Giacometti [Poem]. Tiger's Eye
Lord, James. Alberto Giacometti and His Drawings. no. 7:61-63, March 1949.
Introduction to the catalogue of the exhibition at Reprinted from Wilbur's Ceremony and Other
the Pierre Matisse Gallery, New York, 1964. Poems, New York, Harcourt, Brace & Co., 1948.
Lord, James. Alberto Giacometti, sculpteur et pein- Yanaihara, Isaku. Pages de journal. Derriere le
tre. L'OEil no. 1:14-20, January 15, 1955. miroir no. 127:18-26, May 1961.
Published in English in The Selective Eye, New Translated from the Japanese. — Published in
York, Random House, 1955. German translation as "Aus einem Tagebuch," in
Maldiney, Henri. La Fondation Marguerite et Ai- Du, v. 22, no. 252:29-30, February 1962.
me Maeght. Derriere le miroir, no. 148, July 1964. Zervos, Christian. Quelques notes sur les sculptures
Issue includes an original lithograph by Giaco de Giacometti. Cahiers d'art, v. 7, no. 8/10:337-42,
metti and drawings. 1932.
Ponge, Francis. Reflections sur les statuettes, figures
& peintures d'Alberto Giacometti. Cahiers d'art v.
26:74-90, 1951.
Russoli, Franco. Artisti alia Biennale: Alberto Gia
cometti. Comunita v. 10, no. 42:74-77, September
1956.
Sartre, Jean-paul. Les Peintures de Giacometti.
Derriere le miroir no. 65, May 1954.
Reprinted in Les Temps modernes v. 9 no. 103:
2221-32, June 1954. — Published in English trans
lation by Lionel Abel as "Giacometti in Search of
Space," Art News v. 54, no. 5:26-29, 63-65, Sep
tember 1955, and by Warren Ramsey as "The
Paintings of Giacometti," in Art & Artist, Berke
ley and Los Angeles, University of California
Press, 1956, pp. 179-94.
Sarte, Jean-paul. Le Recherche de l'absolu. Les
Temps modernes v. 3, no 28:1153-63, January 1948.
Published in English translation as "The Search
for the Absolute" as the introduction to the cata
logue of the exhibition at the Pierre Matisse Gal
lery, 1948.
SIkira], AClbert]. Alberto Giacometti: Copies
d'apres un bas-relief egyptien — Conrad Witz —
Andre Derain — Une figure grecque. Labyrinthe
no. 10:2, July 15, 1945.
Soby, James Thrall. Alberto Giacometti. Saturday
Review v. 38, no. 32:36-37, August 6, 1955.

114
 CATALOGUE OF THE in wood, glass, wire, string, 25" high x 28V4x
EXHIBITION 15%". The Museum of Modern Art, New
York. Purchase. (NY) . 111.p. 45
*13 No More Play. 1933. Marble, wood, bronze,
Dimensions are in inches, height preceding width. 23 x 17%". Collection Mr. and Mrs. Julien
Dates of the sculpture imply the original concep Levy. (NY) . 111.p. 39
tion, in plaster or other materials. In many cases
*14 Nude (Femme qui mar che). 1933-34. Bronze,
bronze casts were not made the same year. In paint
59" high. Museum of Fine Arts, Boston. 111.
ings and drawings, dates enclosed in parentheses do
not appear on the works. Works to be shown at P- 43
only one, two or three museums are marked by *15 Cubist Head. 1934-35. Bronze, 7" high. The
(NY), (C), (LA), or (SF) to indicate New York, Joseph H. Hirshhorn Collection. 111.p. 40
Chicago, Los Angeles, or San Francisco. Illustrated *16 Invisible Object (Hands Holding the Void).
934"35* works are marked with an asterisk. I Bronze, 61" high. Collection Mr. and
Mrs. Lee A. Ault. 111.p. 43
SCHEDULE OF THE EXHIBITION 17 Head of Isabelle. 1936. Bronze, 1154" high.
Collection Mr. and Mrs. Allan D. Emil
The Museum of Modern Art, New York:
18 Two Figures. 1936. Bronze, 554" high. Col
June 9-October 10, 1965
lection Mr. and Mrs. James Laughlin
The Art Institute of Chicago:
*19 Woman with the Chariot I. 1942-43. Bronze,
November 5-December 12, 1965
61 54" high. Pierre Matisse Gallery, New York.
Los Angeles County Museum of Art: 111.p. 46
January 11-February 20, 1966
*20 Figurine, c.1945. Plaster, 1" high on plaster
San Francisco Museum of Art: base, 354" high x 2 x 2". Collection Mr. and
March 10-April 24, 1966 Mrs. Thomas B, Hess. 111.p. 47
*21 Figurine, c.1945. Plaster, i5«" high on plaster
base, 2 54" high x 1% x 154". Collection Mr.
SCULPTURE and Mrs. Thomas B. Hess. 111.p. 47
*1 Torso. 1925. Bronze, 22 54" high. Collection 22 Femme Leonie. 1947. Bronze, 65 54" high. Pri
Mr. and Mrs. Arnold H. Maremont. 111.p. 31 vate collection
*2 The Couple. 1926. Bronze, 2314" high. Col *23 Hand. 1947. Bronze, 2854" long. Collection
lection Mr. and Mrs. Harry Lewis Winston. Mr. and Mrs. Paul Peralta-Ramos. 111.p. 48
111.p. 32 *24 Head of a Man on a Rod. 1947. Bronze and
*3 The Spoon Woman. 1926. Bronze, 5714" high. plaster, 2154" high. Collection Mr. and Mrs.
Collection Mr. and Mrs. Arnold H. Mare William N. Eisendrath, Jr. (C, LA, SF). 111.
mont. 111.p. 31 p. 50
*25 Head of a Man on a Rod. 1947. Bronze, 24"
*4 Head. 1928. Bronze, 15%" high. The Florene high. Collection Mrs. George Acheson. (NY).
May Schoenborn and Samuel A. Marx Collec 111.p. 51
tion. 111.p. 32
*26 Man Pointing. 1947. Bronze, 7o54" high. The
*5 Man. 1929. Bronze, 15%" high. Collection Dr. Museum of Modern Art, New York. Gift of
and Mrs. Frank Stanton. 111.p. 34 Mrs. John D. Rockefeller, 3rd. 111.p. 49
*6 Reclining Woman Who Dreams. 1929. 27 Nose. 1947. Bronze. Head, 1454" high x 27"
Painted bronze, 15%" long. The Joseph H. long; cage, 32" high x 18 x 1454". Collection
Hirshhorn Collection. 111.p. 35 Mr. an4 Mrs. Arthur J. Kobacher.
7 Standing Man. 1930. Plaster, 26" high. The 28 Tall Figure 1. 1947. Bronze, 6' 7V1" high. The
Joseph H. Hirshhorn Collection Joseph H. Hirshhorn Collection. (NY)
*8 Suspended Ball. 1930-31. Wood and metal, *29 Tall Figure, Half-Size. 1947. Bronze, 52"
23%" high. Private collection. 111.p. 36 high. The Florene May Schoenborn and
*9 Disagreeable Object. 1931. Wood, 19" long. Samuel A. Marx Collection. 111.p. 42
Collection Mr. and Mrs. James Johnson Swee *30 City Square. 1948. Bronze, 854" high, 2554"
ney. (NY). 111.p. 37 long. The Museum of Modern Art, New
io # Hand Caught by a Finger (Main prise). 1932. York. Purchase. (NY). Collection Mr. and
Wood and metal, 23" long. Museum of Fine Mrs. Morton G. Neumann. (C). 111.p. 56
Arts, Zurich. 111.p. 37 31 Tall Figure. 1949. Bronze, 65 54" high. Collec
*11 Woman with Her Throat Cut (Femme egor- tion Aime Maeght
gee). 1932. Bronze, 34V2" long. The Museum *32 Three Men Walking. 1949. Bronze, 2854"
of Modern Art, New York. Purchase. 111.p. 38 high. Collection Mr. and Mrs. Burt Kleiner.
*12 The Palace at 4 A.M. 1932-33. Construction 111.p. 55

115
33 Walking Quickly under the Rain. 1949. *53 Figure from Venice V. 1956. Bronze, 43 14"
Bronze, 17%" high, 32" long. Collection Mr. high. Pierre Matisse Gallery, New York. 111.
and Mrs. Gordon Bunshaft. 111.pp. 56, 57 pp. 68-69
34 Between Two Houses (Figurine dans une *54 Figure from Venice VI. 1956. Bronze, 52"
hoite entre deux boites qui sont des maisons). high. Pierre Matisse Gallery, New York. 111.
1950. Bronze and glass, 11%" high, 20" long, pp. 68-69
7 14" deep. Collection Mr. and Mrs. Stanley *55 Figure from Venice VII. 1956. Bronze, 46"
Marcus. 111.p. 58 high. Pierre Matisse Gallery, New York. 111.
35 Chariot. 1950. Bronze, 57" high. The Museum pp. 68-69
of Modern Art, New York. (NY) . 111.p. 61 *56 Figure from Venice VIII. 1956. Bronze, 47%"
36 Composition with Seven Figures and a Head high. Pierre Matisse Gallery, New York. 111.
(The Forest). 1950. Painted bronze, 22" high. pp. 68-69
Collection Mrs. Albert H. Newman. (C). *57 Figure from Venice IX. 1956. Bronze, 44 14"
Painted bronze, The Reader's Digest Associa high. Pierre Matisse Gallery, New York. 111.
tion, Pleasantville, New York. (NY). 111.p.-54 pp. 68-69
37 Composition with Nine Figures (The Glade). 58 Project for a Monument. 1956. Bronze, 18"
1950.Bronze, 2314" high. Collection Mr. and high. Collection Mr. and Mrs. Carter Burden
Mrs. Frederick Weisman. (LA)
*59 Bust of Diego. 1957. Bronze, 24I4" high. The
38 Four Women on a Base. 1950. Painted bronze,
Joseph H. Hirshhorn Collection. 111.p. 53
31" high. Museum of Art, Carnegie Institute,
Pittsburgh. 111.p. 60 *60 Head of Diego on Stele I. 1958. Bronze,
63 14" high. Pierre Matisse Gallery, New York.
39 Head of Diego. 1950. Painted bronze, 11"
111.p. 71
high. Collection Mr. and Mrs. Jacques Gelman
*61 Head of Diego on Stele 111. 1958. Bronze,
40 The Cage. 1950-51. Bronze, 67" high. Collec
65%" high. Collection Aime Maeght. 111.p. 71
tion Aime Maeght. 111.p. 58
*62 Leg. 1958-59. Bronze, 7' high. Pierre Matisse
41 Dog. 1951. Bronze, 18" high, base 39" long.
Gallery. 111.p. 70
The Museum of Modern Art, New York. A.
Conger Goodyear Fund. (NY). Collection *63 Woman, Shoulder Broken (Femme, epaule
Mr. and Mrs. Morton G. Neumann. (C). cassee). 1958-59. Bronze, 2714" high. Collec
Collection Mr. and Mrs. Frederick Weisman. tion Dr. and Mrs. Leo Chalfen. 111.p. 63
(LA). 111.p. 62 *64 Monumental Head. i960. Bronze, 3714" high.
*42 Head. 1952. Bronze, 15" high. Collection The Joseph H. Hirshhorn Collection. (NY).
Aime Maeght. 111.p. 67 111.p. 74
*43 Standing Nude. 1953. Painted plaster, 8)4" *65 Tall Figure I. i960. Bronze, 8' 1014" high.
high. Private collection. 111.p. 65 Pierre Matisse Gallery, New York. 111.p. 72
*44 Woman. 1953. Bronze, 1914" high. The *66 Tall Figure 111. i960. Bronze, 7' 9" high. Col
Joseph H. Hirshhorn Collection. 111.p. 65 lection Mr. and Mrs. Gordon Bunshaft. (NY).
*45 Head of Diego. 1954. Bronze, 13 !4" high. Col 111.p. 72
lection Mr. and Mrs. Charles Zadok. 111.p. 52 *67 Tall Figure IV. i960. Bronze, 8' 1014" high.
*46 Head of Diego. 1954. Bronze, 2614" high. Pierre Matisse Gallery, New York. 111.p. 72
Collection Mr. and Mrs. Sidney F. Brody. *68 Walking Man I. i960. Bronze, 71%" high.
(NY, C, LA). Collection Mr. and Mrs. Museum of Art, Carnegie Institute, Pittsburgh.
Richard K. Weil. (SF). 111.p. 66 111.p. 73
*47 Bust of Diego. 1955. Plaster, 7 14" high. Col 69 Walking Man 11. i960. Bronze, 74%" high.
lection Mr. and Mrs. James W. Alsdorf. (NY, Collection Mr. and Mrs. Percy Uris. (NY).
C).I11. p. 65 Collection Mr. and Mrs. David Bright. (LA,
48 Diego, Study from Life. 1955. Bronze, 1514" SF)
high. The Joseph H. Hirshhorn Collection- *70 Bust of Annette. 1962. Painted bronze, 1814"
*49 Figure from Venice 1. 1956. Bronze, 41 14" high. Private collection. 111.p. 75
high. Pierre Matisse Gallery, New York. 111. *71 Bust of Annette IV . 1962. Bronze, 2214" high.
pp. 68-69 Collection Sylvan and Mary Lang. 111.p. 64
*50 Figure from Venice II. 1956. Painted bronze, *72 Figure Standing ( 1$). 1964. Bronze, 26 14"
47 14" high. Collection Mr. and Mrs. James W. high. Pierre Matisse Gallery, New York. 111.
Alsdorf. 111.pp. 68-69
P- 75
*51 Figure from Venice III. 1956. Bronze, 46%"
high. Collection Mr. and Mrs. Harry W. Sher
wood. 111.pp. 68-69 PAINTINGS
*52 Figure from Venice IV. 1956. Bronze, 45 14"
*73 Diego at Stampa. 1921. Oil on canvas, 24% x
high. Pierre Matisse Gallery, New York. 111.
19%". Collection Alberto Giacometti. 111.p. 76
pp. 68-69
116
 *74 The Artist's Mother. 1937. Oil on canvas, 95 Still Life with Fruit. 1957. Oil on canvas, 24 x
23 Vi x 19%". Collection Mrs. Pierre Matisse. 19%". Galerie Claude Bernard, Paris
111.p. 8r 96 Yanaihara 11. 1956. Oil on canvas, 32 x 2514".
75 Portrait of Diego. 1948. Oil on canvas, 28 14 Pierre Matisse Gallery, New York
x 2314". Collection Mr. and Mrs. Leigh B. *97 Portrait of David Sylvester, i960. Oil on can
Block vas, 45 14 x 35". Collection Mr. and Mrs. Joseph
76 Still Life (Apples). 1948. Oil on canvas, 10 x Pulitzer, Jr. 111.p. 102.
12". Collection Mr. and Mrs. James W. *98 Annette. (1961). Oil on canvas, 45 54 x 35".
Alsdorf Collection Mr. and Mrs. Jacques Gelman. 111.
*77 Seated Man. 1949. Oil on canvas, 30% x p. 89
14/2". Collection Mr. and Mrs. Morton G. *99 Annette. 1961. Oil on canvas, 21% x 1714".The
Neumann. 111.p. 78 Joseph H. Hirshhorn Collection. 111.p. 103
78 Annette. 1950. Oil on canvas, 29% x 15)4". *100 Caroline. 1961. Oil on canvas, 45 54 x 35". Frank
Collection Mr. and Mrs. William S. Paley and Ursula Laurens Collection. 111.p. 91
79 The Artist's Mother. 1950. Oil on canvas, 101 Head of Diego. (1961). Oil on canvas, 17% x
35% x 24". The Museum of Modern Art, 13%". Museum of Fine Arts, Boston
New York. Acquired through the Lillie P. *102 Head of a Man. (1961) . Oil on canvas, 19 x 16".
Bliss Bequest. 111.p. 80 Collection Mr. and Mrs. Sidney L. Solomon.
*80 Scene from Studio Window. 1950. Oil, 2114 111.p. 92
x 1314". Collection Mr. and Mrs. James W. 103 Caroline. 1962. Oil on canvas, 36V4 x 28%".
Alsdorf. 111.p. 84 Collection Mr. and Mrs. Henry A. Markus
*81 Seated Figure in Studio. (1950) . Oil on canvas, *104 Caroline. 1962. Oil on canvas, 39!4 x 32". Col
!/2 39 x 31%". Collection Julian J. -and Joachim lection Mr. and Mrs. Robert B. Mayer. 111.p.
Jean Aberbach. 111.p. 79 104
82 Still Life. (1950). Oil on canvas, 19 x 17". Col *105 Head. (1962). Oil on canvas, 36!4 x 2814". Col
lection Mrs. Henry Epstein lection Aime Maeght. 111.p. 93
*83 The Studio. 1950. Oil on canvas, 25% x 1814". 106 Portrait of James Lord. 1964. Oil on canvas, 46
Collection Mr. and Mrs. James W. Alsdorf. 111. x 32". Collection James Lord
p. 83
*84 The Artist's Mother. (1951). Oil on canvas,
3614 x 2814". Collection Aime Maeght. 111.p. 82 DRAWINGS

*85 Figure. ( 1951) . Oil on canvas, 43 14 x 2o!4". *107 Portrait of Simon Berard. (c.1918). Pen and
Collection Mr. and Mrs. Joseph Bissett. 111.p. ink, 1214 x 914". Collection James Lord. 111.p.
86 94
*86 Study after the City Square. 1951. Oil on can- *108 Self -Portrait. 1937. Pencil, 1914 x 1214". Col
was, 24 x 1914". Collection Mr. and Mrs. An lection Pierre Matisse. 111.p. 94
drew C. Ritchie. 111.p. 87 *109 Head of a Woman. 1946. Crayon, 1914 x
*87 Landscape. 1952. Oil on canvas, 18 x 20". Col 1314" (sight). Private collection. 111.p. 95
lection Mr. and Mrs. Harry W. Sherwood. 111. *110 Figures on City Square. 1947. Pencil, 12% x
p. 85 20". Collection Gene R. Summers. 111.p. 96
88 The Street. 1952. Oil on canvas, 20I4 x 19I4". *111 Standing Nude. (1947). Oil on paper, 24% x
Private collection 1314" Collection Eleanor Ward. 111.p. 96
89 Portrait of Diego. 1953-54. Oil on canvas, 18 x 112 Standing Woman. 1947. Pencil, 2114 x 1414".
13". Collection Mr. and Mrs. James W. Als Private collection
dorf 113 Two Male Figures and Standing Nude. 1948.
*90 Annette. (1954). Oil on canvas, 2514 x 21". Pencil, 17 14 x 1114". Collection Mr. and Mrs.
Collection Mr. and Mrs. Arnold H. Mare- Eugene Victor Thaw
mont. 111.p. 88 * 114 Jean-Paul Sartre. 1949. Pencil, 1114 x 8Vs". Col
91 Seated Man. (1954). Oil on canvas, 31% x lection Ruth and Hermann Vollmer. 111.p. 106
2554". Private collection *115 Walking Man. (c.1950). Oil on paper, 2614 x
*92 Study of Pleads. 1954. Oil on canvas, 31% x 20". Collection James Lord. 111.p. 97
23%". Collection Louis Clayeux. 111.p. 86 *116 Bust on Sculpture Stand. 1951. Crayon, 22 x
*93 Bottles. 1956. Oil on canvas, 25 14 x 2114". Col 14%". Collection Ruth and Hermann Vollmer.
lection William Inge. 111.p. 101 111.p. 98
*94 Sideboard (Le Buffet). 1957. Oil on canvas, 117 Five Tall Figures. 1951. Lithographic crayon,
19% x 24". Collection Mr. and Mrs. Joseph L. 1514 x n". Collection Dr. and Mrs. Werner
Tucker. 111.p. 90 Muensterberger

117
 *118 Interior. 1951. Pencil, 14Zi x io!4". Private col
lection. 111.p. 99
119 Interior with Nude. 1951. Crayon, 15 x 21%".
Collection Ruth and Hermann Vollmer
*120 Tree. 1952. Pencil, 20 x 13 M Collection Mr.
and Mrs. James W. Alsdorf. 111.p. 108
121 Landscape. 1953. Pencil, 11/2 x i6!4". B. C.
Holland Gallery, Inc., Chicago
122 Seated Man (Peter Watson). 1953. Pencil, 19%
x 12)4". Collection Mr. and Mrs. James W.
Alsdorf
*123 Henri Matisse—Nice. June 30, 1954. Pencil,
2 i8Y x 12/4". Collection Alberto Giacometti.
111.p. 106
124 Henri Matisse. July 6, 1954. Pencil, 18% x
A 12 l " . Collection Alberto Giacometti
125 Seated Woman. (1954). Pencil, i8!4 x 12%".
Collection Mr. and Mrs. Philip Gersh
126 Portrait of Marilynn Alsdorf. 1955. Pencil,
19Vi x 12%". Collection Mr. and Mrs. James
W. Alsdorf
lA *127 Self -Portrait. (1955). Pencil, ig x 12%". Pri
vate collection. 111.p. 107
*128 Annette in the Studio. 1956. Pen and ink, 14 x
9 Vi". Collection Mr. and Mrs. James W. Als
dorf. 111.p. 98
*129 The Dormer Window. 1957. Pencil, 25% x
A". 19} Courtesy The Museum of Modern Art,
New York. 111.p. 99
*130 Igor Stravinsky. 1957. Pencil, 15% x 12". Col
lection Mr. and Mrs. Robert D. Graff. 111.p.
107
*131 Mountain. 1957. Pencil, 19% x 25%". The Solo
mon R. Guggenheim Museum, New York. 111.
p. 109
*132 Sketch page. 1959. Pencil and colored crayon,
1414 x io!4". Collection Dr. and Mrs. Werner
Muensterberger. 111.p. 105
*133 Vase of Flowers. 1959. Pencil, 19% x 12%".
Private collection. 111.p. 100
134 Bust of a Man. i960. Pencil, 19% x 12%". Col
lection Steven N. Kaufmann
135 Head of Diego, (i960). Ball point pen, 7^ x
3 ". Collection Larry G. Hager
*136 Head of a Man and Torso of a Woman.
(1962). Ball point pen on paper napkin, 9% x
4%", irreg. Collection Ruth and Hermann
Vollmer. 111.p. 110
137 Portrait of Alice. (1962). Ball point pen, 6 14 x
iVi". Collection Mr. and Mrs. John Rewald
*138 Self -Portrait. (1962). Ball point pen on paper
napkin, 7 14 x 5", irreg. Collection Ruth and
Hermann Vollmer. 111.p. 111
*139 Three Heads. 1962. Ball point pen, 8Vs x 6".
Collection Pierre Matisse. 111.p. no
140 Figure in an Interior. 1963. Pencil, 19% x 12%". Three busts of Diego, (c. 1957).
Private collection

118
 LENDERS TO THE EXHIBITION PHOTOGRAPH CREDITS

Julian J. and Joachim Jean Aberbach; Mrs. George Except in those cases listed below, all photographs
Acheson; Mr. and Mrs. James W. Alsdorf; Mr. and have been supplied by the owners or custodians of
Mrs. Lee A. Ault; Mr. and Mrs. Joseph Bissett; Mr. the works reproduced. The numbers refer to the
and Mrs. Leigh B. Block; Mr. and Mrs. David B. pages on which the photographs appear.
Bright; Mr. and Mrs. Sidney F. Brody; Mr. and
Mrs. Gordon Bunshaft; Mr. and Mrs. Carter Bur Brigdens Ltd., 65 right; Art Institute of Chicago, 83,
den; Dr. and Mrs. Leo Chalfen; Louis Clayeux; 84; Walter Drayer, 55, 58 top; Solomon R. Gug
Mr. and Mrs. William N. Eisendrath, Jr.; Mr. and genheim Museum, 39, 74, 109; Leni Iselin, 36; Stu
Mrs. Allan D. Emil; Mrs. Henry Epstein; Mr. and dio Galerie Maeght, 58 bottom, 86, 88, 93; Pierre
Mrs. Jacques Gelman; Mr. and Mrs. Philip Gersh; Matisse Gallery, 34, 43 right, 44, 78, 85, 90; Herbert
Alberto Giacometti; Mr. and Mrs. Robert D. Graff; Matter, 32 bottom, 40, 41 42, 51, 52, 53, 54, 56 top, 57,
1 Larry G. Hager; Mr. and Mrs. Thomas B. Hess; 61, 62, 63, 64, 68-69, 7 7L 81, 82, 101, 103, 104;
The Joseph H. Hirshhorn Collection; William Museum of Modern Art, 37 top, 38, 45, 47, 49, 56
Inge; Steven N. Kaufmann; Mr. and Mrs. Burt bottom, 61, 70, 80, 95, 98 bottom, 99, 100, 106 left,
Kleiner; Sylvan and Mary Lang; Mr. and Mrs. 107, no left, iii; Piaget, 102; Eric Pollitzer, 46, 71
James Laughlin; Frank and Ursula Laurens Collec right, 73, 75, 89, 91, 92, 96 bottom, 106 right, no
tion; Mr. and Mrs. Julien Levy; James Lord; Aime right; Charles Reynolds, 94 bottom; Walter Rosen-
Maeght; Mr. and Mrs. Stanley Marcus; Mr. and blum, 35, 94 top, 97; Ernst Scheidegger, 30, 31 right,
Mrs. Arnold H. Maremont; Mr. and Mrs. Henry A. 32 top, 33, 37 bottom, 48, 51, 66, 67, 76, 77; John
Markus; Mrs. Pierre Matisse; Mr. and Mrs. Pierre Schiff, 79, 96 top; F. Wilbur Seiders, 65 bottom left;
Matisse; Mr. and Mrs. Robert B. Mayer; Dr. and Peter Selz, 118; Charlotte Weidler, 13.
Mrs. W. Muensterberger; Mr. and Mrs. Morton G.
Neumann; Mrs. Albert H. Newman; Mr. and Mrs.
William S. Paley; Mr. and Mrs. Paul Peralta-
Ramos; Mr. and Mrs. Joseph Pulitzer, Jr.; The
Reader's Digest Association; Mr. and Mrs. John
Rewald; Mr. and Mrs. Andrew C. Ritchie; The
Florene May Schoenborn and Samuel A. Marx Col
lection; Mr. and Mrs. Harry Sherwood; Mr. and
Mrs. Sidney L. Solomon; Dr. and Mrs. Frank Stan
ton; Gene R. Summers; Mr. and Mrs. James John
son Sweeney; Mr. and Mrs. Eugene Victor Thaw;
Mr. and Mrs. Joseph L. Tucker; Mr. and Mrs.
Percy Uris; Ruth and Hermann Vollmer; Eleanor
Ward; Mr. and Mrs. Richard K. Weil; Mr. and
Mrs. Frederick Weisman; Mr. and Mrs. Harry
Lewis Winston; Mr. and Mrs. Charles Zadok.

Museum of Fine Arts, Boston; The Art Institute of

Chicago; The Solomon R. Guggenheim Museum,
New York; The Museum of Modern Art, New
York; Museum of Art, Carnegie Institute, Pitts
burgh; Museum of Fine Arts, Zurich.
Galerie Claude Bernard, Paris; B. C. Holland Gal
lery, Inc., Chicago; Pierre Matisse Gallery, New
York.

119
Drawing for the jacket by Alberto Giacometti, 1965.
 TheMuseumof ModernArt

JAMES LORD: A GIAO 300304996

During eighteen portrait sittings for Alberto
Giacometti, James Lord had an exceptional
opportunity to study the artist at work.
What resulted, in addition to Giacometti's
portrait of Lord, is Lord's portrait in words
of an enigmatic artist. Not only Giaco
metti's temperament but his actual method
of selection and composition are revealed
here in detail that would be invisible to
anyone other than a first-hand observer.
80 pages; 16 illustrations paper $1.50

Rodin by Albert Elsen

This is the first thorough analysis in English
of Rodin's prodigious achievement. In addi
tion to Elsen's illuminating text there is a
postscript by Peter Selz on "Rodin and
America" and a tribute to the sculptor by
Jacques Lipchitz.
"Not just another biography, comprehen
sive reinterpretation, or ceuvre catalogue,
but a sound study of critical moment's in
Rodin's career, with admirable accounts of
the genesis of key works."
—Saturday Review
228 pages; 172 illustrations (4 in color)
paper $3.75 cloth $8.50

medardo rosso by Margaret Scolari Barr

Although a contemporary of Rodin's, Ros-
so's rightful fame was obscured for many
years. Now Margaret Scolari Barr reestab
lishes his importance by assessing his rela
tion to contemporary art and revealing the
ways in which his work heralds the growth
of what we call expressionism.
92 pages; 68 illustrations (frontispiece in
color) cloth $5.00

The Museum of Modern Art

11 West 53 Street, New York, N. Y. rooi9
Distributed by Double day & Company ,
Inc., Garden City, New York
A Selected List of Publications of The Museum of Modern Art
11 West 53 Street, New York, N. Y. 10019

Americans 1963. ii2 pages; ii2 illustrations; paper, $2.95

architecture without architects. 128 pages; 163 illustrations; paper, $2.95; cloth, $6.95
art Israel: 26 painters and sculptors. 88 pages; 84 illustrations; paper, $2.95; cloth, $5.95
arp. 126 pages; 114 illustrations (2 in color); cloth, $4.50
ARTNOUVEAU:ARTANDDESIGNAT THE TURN OF THE CENTURY.192 pages; 193 illustrations ( I in
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bonnard and his environment. 116 pages; 107 illustrations (41 in color); paper, $2.95;
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the work of jean dubuffet. 184 pages; 125 illustrations (2 1 in color); cloth, $7.50;
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max ernst. 64 pages; 85 illustrations (i in color); paper, $2.50
walker evans: American photographs. 198 pages; 87 illustrations; cloth, $7.50
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futurism. 154 pages; 141 illustrations (22 in color); cloth, $6.50
German art of the twentieth century. 240 pages; 178 illustrations (48 in color); cloth,
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james lord: a giacometti portrait. 80 pages; 16 illustrations; paper, $1.50
d. w. Griffith: American film master. 88 pages; 108 illustrations; paper, $2.95; cloth, $6.95
juan gris. 128 pages; 126 illustrations ( 19 in color); cloth $5.50
the history of impressionism, Revised and Enlarged Edition. 66 2 pages; 635 illustrations
(86 in color); cloth, $20.00
the history of photography: 18 39 to the present day, Revised and Enlarged Edition.
212 pages; 210 illustrations; $12.50
introduction to twentieth century design. 98 pages; 132 illustrations; paper, $2.95
masters of British painting — 1800-1950. 160 pages; 104 illustrations ( 16 in color);
boards, $5.50
masters of modern art. 240 pages; 356 illustrations (77 in color); boards, $16.50
joan miro. 164 pages; 148 illustrations (35 in color); cloth, $8.50
modern gardens and the landscape. 100 pages; 135 illustrations (6 in color); paper, $2.75;
cloth, $5.95
new Spanish painting and sculpture. 64 pages; 58 illustrations; paper, $1.95
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the sculptor's studio: etchings by picasso. 48 pages; 23 illustrations; paper, $1.25
ODILONREDON— GUSTAVE — MOREAU— RODOLPHEBRESDIN.184 pages; I 23 illustrations (31 in
color); boards, $7.50; paper, $3.75
the responsive eye. 56 pages; 46 illustrations ( 13 in color) ; paper, $ 1.95
rodin. 228 pages; 172 illustrations (4 in color); cloth, $8.50
medardo rosso. 92 pages; 68 illustrations ( 1 in color); cloth, $5.00
mark rothko. 44 pages; 30 illustrations (6 in color); paper, $2.25
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de stijl. 16 pages; 16 illustrations (3 in color); paper, 75 j
textiles and ornaments of india. 96 pages; i io illustrations ( 16 in color); boards, $4.00
what is modern painting? 48 pages; 55 illustrations ( 1 in color); paper, $1.25

A complete list of Museum publications is available on request