Lot 34
  • 34

Alberto Giacometti

Estimate
120,000 - 180,000 GBP
Sold
1,022,500 GBP
bidding is closed

Description

  • Alberto Giacometti
  • Femme nue debout
  • signed Alberto Giacometti and dated 1946 (lower right)
  • pencil on paper

Provenance

Alsdorf Collection, Chicago

Private Collection

Acquired from the above by the late owner in November 1972

Exhibited

Geneva, Galerie Jan Krugier, Le Silence des Autres, 1972, no. 2, illustrated in the catalogue

Geneva, Musée d'Art et d'Histoire, Art du XXe siècle - Collections Genevoises, 1973, no. 2

Paris, Galerie Claude Bernard, Giacometti, dessins, 1975-76

Chur, Bündner Kunstmuseum, Alberto Giacometti, ein Klassiker der Moderne, Skulpturen, Gemälde, Zeichnungen, Bücher, 1978, no. 72, illustrated in the catalogue

Saint-Paul-de-Vence, Fondation Maeght, Alberto Giacometti, 1978, no. 214, illustrated in the catalogue

Geneva, Musée Rath, Alberto Giacometti, retour à la figuration, 1933-1947, 1986

Madrid, Museo Nacional Centro de Arte Reina Sofía, Alberto Giacometti, dibujo-escultura-pintura, 1990-91, no. 140, illustrated in the catalogue

Paris, Musée d'Art Moderne de la Ville de Paris, Alberto Giacometti, sculptures-peintures-dessins, 1991-92, no. 81, illustrated in the catalogue

Vienna, Kunsthalle, Alberto Giacometti, 1996, no. 109, illustrated in the catalogue

Berlin, Kupferstichkabinett, Staatliche Museen zu Berlin - Preussischer Kulturbesitz,  Linie, Licht und Schatten. Meisterzeichnungen und Skulpturen der Sammlung Jan und Marie-Anne Krugier-Poniatowski, 1999, no. 169, illustrated in colour in the catalogue

Venice, Peggy Guggenheim Collection, Solomon R. Guggenheim Foundation, The Timeless Eye. Master Drawings from the Jan and Marie-Anne Krugier-Poniatowski Collection,1999, no. 176, illustrated in colour in the catalogue

Madrid, Museo Thyssen-Bornemisza, Miradas sin Tiempo. Dibujos, Pinturas y Esculturas de la Coleccion Jan y Marie-Anne Krugier-Poniatowski, 2000, no. 195, illustrated in colour in the catalogue

Paris, Musée National d'Art Moderne, Alberto Giacometti. Le dessin, l'œuvre, 2001, no. 86, illustrated in the catalogue

Zurich, Kunsthaus, Alberto Giacometti, 2001, no. 95, illustrated in colour in the catalogue

Paris, Musée Jacquemart-André, La Passion du Dessin. Collection Jan et Marie-Anne Krugier-Poniatowski, 2002, no. 171, illustrated in colour in the catalogue

Vienna, Albertina, Goya bis Picasso. Meisterwerke der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, 2005, no. 164, illustrated in colour in the catalogue

Munich, Hypo-Kulturstiftung, Das Ewige Auge - Von Rembrandt bis Picasso. Meisterwerke aus der Sammlung Jan Krugier und Marie-Anne Krugier-Poniatowski, 2007, no. 214, illustrated in colour in the catalogue

Literature

André du Bouchet, Alberto Giacometti: dessins 1914-1965, Paris, 1969, illustrated p. 6

Reinhold Hohl, Alberto Giacometti, Lausanne, 1971, no. 73, illustrated p. 296

Alain Madeleine-Perdrillat, Seurat, Geneva, 1990, illustrated p. 98          

Yves Bonnefoy, Alberto Giacometti - Biographie d'une œuvre, Paris, 1991, no. 285, illustrated p. 312

Giorgio Soavi & Peter Knapp, Alberto Giacometti, la ressemblance impossible, Paris, 1991, illustrated pp. 110-111

David Sylvester, Looking at Giacometti, London, 1994, illustrated p. 10

Itzhak Goldberg, 'Alberto Giacometti, La Rétrospective', in Beaux-Arts Collection, May 2001, illustrated in colour p. 39

Catalogue Note

Femme nue debout, executed in 1946, is a masterful drawing of the preeminent subject of Giacometti’s art. Delineated in a haze of pencil marks and heightened by scratching the surface of the paper, the female nude in the present work exerts a powerful presence. Alongside the walking man, the standing female figure represented the absolute distillation of Giacometti’s existentialist perspective. Discussing the importance of these figures Christian Klemm writes: 'With these weightless elongated figures, Giacometti extended an age-old tradition of imaging man and woman as symbolic representations of the elemental. The work limited to the core of human existence is symptomatic of a post-war era that was seeking out grounds for a new start, however minimal these might be. The lofty verticality of Giacometti’s figures, combined with their exquisite fragility, creates a tension with the base materiality of their composition that works to reflect the human condition caught between dignity, vulnerability, and the ultimate fallibility’ (C. Klemm, Alberto Giacometti (exhibition catalogue), Kunsthaus, Zurich, 2001, p. 150).

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