Kárpáti Zoltán - Liptay Éva - Varga Ágota szerk.: A Szépművészeti Múzeum közleményei 101. (Budapest, 2004)

ANNUAL REPORT 2004 - A 2004. ÉV - TEMPORARY EXEIIBITIONS - IDŐSZAKI KIÁLLÍTÁSOK - ILONA FEKETE: Alberto Giacometti's Life-Work Exhibition

59. Alberto Giacometti, Dog, Zürich, Alberto Giacometti Stiftung On the walls of the corridor connecting the two halls were arranged photographs by Ernst Scheidegger, who followed Giacometti throughout his life: photos of the artist, his family, friends and the sculptor's significant, though impossible to transport, plaster sculptures. In the Ionic Pyramid Hall, the studies immortalising the family and Stampa environs of the barely eighteen-year-old Giacometti at the start of his career were followed by his compositions conceived in Paris in the 1920s. Giacometti enrolled as a student at the Académie de la Grande Chaumière in Paris in the class of sculptor Antoine Bourdelle. While the atelier of Bourdelle was the most highly regarded centre of sculptural training in Paris at the time, Giacometti studied painting alongside his modelling course. This parallel interest accompanied the artist throughout his lifetime, with drawing and painting remaining determining factors through to the end, as an intermittent stream, breaking the surface from time to time. For Giacometti, drawing and painting did not imply the terrain of preparations for sculpture, but meant a sovereign creative realm on an equal footing with sculpture. From 1925, the interest of the young Giacometti turned to Cubism and, first and foremost, tribal art. Alongside his numerous nude drawings made at that time, as well as his suggestive bronzes inspired by tribal art, among them: The Couple (1926) and Spoon Woman (1926-27), one of his chef-d'oeuvres, Gazing Head (1928), reduced to its simplest fonnál elements, was also put on display. This latter sculpture also aroused the interest of the Surrealists. This connection meant emancipation for Giacometti, who