阿爾伯托．賈克梅蒂

瑪格畫廊，巴黎
現有藏家於1985年購自上述人士處

《阿爾伯托．賈克梅蒂》（展覽圖錄），皮耶．馬蒂斯畫廊 ，紐約，1950年，收錄另一同型雕塑版本插圖，圖版頁23
帕瑪． 布卡雷利，《賈克梅蒂，二十世紀大師》， 羅馬，1962年，品號47，收錄雕塑之石膏模型
《阿爾伯托．賈克梅蒂》（展覽圖錄）， 索菲亞王后國家藝術中心博物館，馬德里，1990年，收錄另一同型雕塑版本插圖，圖版頁70
《阿爾伯托．賈克梅蒂：雕塑，繪畫，素描》（展覽圖錄）， 皇宮藝術館，米蘭，1995年，品號45，收錄另一同型雕塑版本插圖，圖版頁24
《阿爾伯托．賈克梅蒂  1901-1966》（展覽圖錄）， 維也納，維也納藝術館與愛丁堡，蘇格蘭國立現代藝術畫廊，1996年，品號44， 收錄另一同型雕塑版本插圖
金．索爾蒂尼，《阿爾伯托．賈克梅蒂：內在的神似》，米蘭，1998年，收錄另一同型雕塑版本插圖，圖版頁136
《阿爾伯托．賈克梅蒂》 （展覽圖錄）， 紐約，現代藝術博物館與蘇黎世，蘇黎世美術館，2001-02年，收錄另一同型雕塑版本插圖，圖版頁201
《阿爾伯托．賈克梅蒂的畫室：阿爾伯托與安妮特．賈克梅蒂基金會收藏》（展覽圖錄）， 喬治．龐畢度中心，2007-08年，收錄另一同型雕塑版本插圖，圖版頁191

This work is in excellent condition. Dark brown patina. There is slightl patina-rubbing on some of the highly textured areas of the surface which is in keeping with the artist's process, otherwise fine.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Buste de Diego is a powerful imagining of the artist's younger brother, Diego. In contrast with his full-length figural sculptures, the sculptures that Giacometti executed of Diego are often modest in scale and more emphatically focused on the nuances of the sitter's face.  Most of these works are heads and half-length busts, completed between 1950 and 1957 and often conceived from memory.  The process by which he executed them was highly tactile, using his hands to make impressions in the clay in what is known as the matière pétre, or kneaded method.  The resulting image is highly expressive and personalized by the artist's visible fingerprints in the surface of the sculpture. Concerning the current model from 1950, it has been pointed out that one side of the face seems to be more firm and youthful while the other side bears the signs of maturation. The passage of time was a central theme in Giacometti's work, and here it informs his conception of his younger brother. 

Discussing this period, Yves Bonnefoy has written: "These sculpted faces compel one to face them as if one were speaking to the person, meeting his eyes and thereby understanding better the compression, the narrowing that Giacometti imposed on the chin or the nose or the general shape of the skull. This was the period when Giacometti was most strongly conscious of the fact that the inside of the plaster or clay mass which he modelled was something inert, undifferentiated, nocturnal, that it betrays the life he sought to represent, and that he must therefore strive to eliminate this purely spatial dimension by constricting the material to fit the most prominent characteristics of the face. This is exactly what he achieves with amazing vigour when, occasionally, he gave Diego's face a blade-like narrowness - drawing seems to have eliminated the plaster, the head has escaped from space - and demands therefore that the spectator stand in front of the sculpture as he did himself, disregarding the back and sides of his model and as bound to a face-to-face relationship" (Y. Bonnefoy, Alberto Giacometti. A Biography of his Work, Paris, 1991, p. 432).