Acquired from the above in 1956
Alberto Giacometti (exhibition catalogue), The Seibu Museum of Art, Tokyo, 1983, illustration of another cast no. 29, n.p.
Bernard Lamarche-Vadel, Alberto Giacometti, Paris, 1984, no. 218, illustration of another cast p. 151 (titled Buste mince)
André Kuenzi, ed., Alberto Giacometti (exhibition catalogue), Fondation Pierre Gianadda, Martigny, 1986, illustration of another cast no. 131, pp. 147 & 273 (titled Buste mince sur socle)
Herbert & Mercedes Matter, Giacometti, New York, 1987, illustrations of another cast pp. 77, 116 & 117
Familia Giacometti (exhibition catalogue), Centro Cultural Arte Contemporaneo, Mexico, 1987, illustration of a painted bronze cast no. 44, p. 79
Kosme María de Barañano, ed., Alberto Giacometti (exhibition catalogue), Museo Nacional Centro de Arte Reina Sofia, Madrid, 1990-91, illustration of a painted bronze cast no. 225, p. 501 (titled Petit buste sur socle (Amenophis))
Tahar Ben Jelloun, Alberto Giacometti, Paris, 1991, illustration of another cast p. 19
Yves Bonnefoy, Alberto Giacometti. A Biography of his Work, Paris, 1991, illustration of another cast p. 441
Laurie Wilson, Alberto Giacometti: Myth, Magic, and the Man, New Haven, 2005, illustration of another cast p. 292
Fondation Alberto et Annette Giacometti, L'Atelier d'Alberto Giacometti, Paris, 2007, no. 203, illustration of the plaster p. 405
Markus Brüderlin & Toni Stooss, eds., Alberto Giacometti, The Origin of Space, Kunstmuseum, Wolfsburg & Museum der Moderne Mönchsberg, Salzburg, 2010-11, illustration of another cast fig. 9, p. 191
“These sculpted faces compel one to face them as if one were speaking to the person," Yves Bonnefoy has written, "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 modeled 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 vigor 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 as in the case of work at an easel. As Giacometti once said, "There is no difference between painting and sculpture." Since 1945, he added, "I have been practicing them both indifferently, each helping me to do the other. In fact, both of them are drawing, and drawing has helped me to see” (Yves Bonnefoy, Alberto Giacometti, A Biography of His Work, Paris, 1991, pp. 432-436).
This emphasis on the frontality of his figures was partly inspired by the art of ancient civilizations, as is suggested by the title of the present work. Aménophis or Amenhotep was the name of four pharaohs who ruled during the New Kingdom of ancient Egypt. The solidity of form displayed by Egyptian sculpture, as well as the innovative juxtaposition of frontal and side views in Egyptian painting, were certainly important sources of inspiration for Giacometti. Combined with the philosophical preoccupations of his own time, as well as with a highly personal approach to his subject, they resulted in some of the most original images of modernist sculpture.
The present sculpture was cast in a numbered edition of eight during the artist's lifetime. In 1956, Jerome Stone purchased this bronze from Pierre Matisse, who described it as the artist's most important rendering of his brother Diego.
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