With this exhibition/event, organised in collaboration with the Giacometti Foundation, the LaM invites you to explore the body of work produced by one of the 20th century’s greatest artists.
Inscribed in the collective imagination, Alberto Giacometti’s fragile elongated sculptures render the profiles of men and women either motionless or captured in movement.
Brought together for the exhibition, over 150 masterpieces reveal the unparalleled career of one of the 20th century’s most legendary modern artists.
13.03 > 11.06.2019
Tuesday to Thursday from 1 p.m. to 6 p.m.
Fridays from 1 p.m. to 9:30 p.m.
Saturdays from 11 a.m. to 6 p.m.
Sundays from 10 a.m. to 6 p.m.
On public holidays and Mondays during Zone B school holidays, the exhibition will be open from 10 a.m. to 6 p.m. (except 1 May: closed)
Full fee: €11
Reduced fee**: €8
**Upon presentation of documentary proof less than 3 months old and/or currently valid
After studying at Geneva’s School of Fine Arts, Giacometti moved to Paris in 1922, where he enrolled in Antoine Bourdelle’s studio and immersed himself in cubism, which influenced his early work. He developed a passion for ancient statuary, Egyptian in particular, as well as for African and Oceanian arts. Non-western arts helped him turn his back on sculptural relief, encouraging him to flatten out forms and employ a combination of signs to represent facial features.
He came to the notice of the surrealists in 1929 and became their travelling companion for a few years. Some of his most disturbing works date from this period, creations that might have made their way out of some threatening dream: sculptures evoking cruel, mysterious game boards, “cages” peopled with strange figures and “unpleasant objects” imbued with strong sexual connotations.
A sculpture is not an object,
it is an interrogation, a question,
Giacometti left André Breton’s movement in 1935 and turned his attention back to the human form and portraiture, which were to remain central to his interest until his death in 1966. Friends and family, collectors, intellectuals and famous names succeeded each other in his studio. Confronted with the problems of creation, Giacometti, ever dissatisfied, was caught up in an endless struggle with his materials. Resemblance to the living sitter remained a central concern in his painted and sculpted portraits.
In order to overcome his inability to depict the sitter as he perceived him or her, he called on the help of artists and civilisations that had preceded him, paying particular attention to Ancient Egyptian statuary. Several of his most emblematic works show its influence.
After the Second World War, Giacometti developed the model human form he is best known for. Extremely elongated and fragile, men and women, motionless or captured in movement, come into being, alone or in groups.
His paintings from the 1950s and 1960s also depict ghostly figures set in a space halfway between the studio view and the world of dreams, a parallel universe where humankind survives as best it can.
Catherine Grenier, Director of the Giacometti Foundation and President of the Giacometti Institute
Sébastien Delot, Director/Curator of the LaM
Christian Alandete, Artistic Director of the Giacometti Institute
Jeanne-Bathilde Lacourt, Curator responsible for modern art at the LaM
The exhibition enjoys the special support of
the main sponsorship of
and partnerships and related sponsorships by