Giacometti et l'Egypte Antique

Giacometti et l'Egypte Antique : Vue de salle, Giacometti et l'Egypte Antique    Giacometti et l'Egypte Antique : Alberto Giacometti Figurine au grand socle c. 1955 Plâtre peint 39,2 x 9,2 x 20,5 cm Fondation Giacometti © Succession Alberto Giacometti (Fondation Giacometti + ADAGP, Paris) 2021    Giacometti et l'Egypte Antique : Vue de salle, Giacometti et l'Egypte Antique    Giacometti et l'Egypte Antique : Statuette funéraire : porteuse d’offrandes Moyen Empire, début de la 12è dynastie  (1963-1862 av. J.-C.) Bois peint 63,2 x 32,8cm Musée du Louvre, département des  Antiquités égyptiennes, E 11990 Photo © 2014 Musée du Louvre/ Benjamin Soligny   


The exhibition


The world that is born

The small but illuminating and ultimately masterful exhibition at the Giacometti Institute recalls that after his break with Surrealism, the artist sought to make likenesses of heads and bodies, capturing something of life and relying on the "magnetic patience" of Egyptian art. "They cut out what was necessary from the whole figure," he notes. And if it's true that "creating a work" translates in Egyptian as "bringing to life," then his Seated Male Bustes may proceed from Old Kingdom scribes, his Walking Women from Middle Kingdom offering bearers, and his Triangle Faces and Knifeblade Profiles from the exaggeratedly long-necked and geometrically distorted representations of Akhenaten in the New Kingdom. "Any one of us looks much more like an Egyptian sculpture than any sculpture ever made," he claimed with certainty.

Extract from the article by Emmanuel Daydé published in the n°98 of the magazine Art Absolument.

When


22/06/2021 - 10/10/2021
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