Paris Post War: Art and Existentialism 1945-55
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Your support makes all the difference.Impossible to grasp the entire figure (we were much too close to the model, and if one began on a detail, a heel, the nose, there was no hope of ever achieving the whole).
But if, on the other hand, one began by analysing a detail, the end of the nose, for example, one was lost. One could have spent a lifetime without achieving a result. The form dissolved, it was little more than granules moving over a deep black void, the distance between one wing of the nose and the other is like the Sahara, without end, nothing to fix one's gaze upon, everything escapes.
Since I wanted nevertheless to realise a little of what I saw, I began as a last resort to work at home from memory. I tried to do what I could to avoid this catastrophe. This yielded, after many attempts touching on cubism, one necessarily had to touch on it (it is too long to explain now) objects which were for me the closest I could come to my vision of reality.
This gave me some part of my vision of reality, but I still lacked a sense of the whole, a structure, also a sharpness that I saw, a kind of skeleton in space.
From Letter to Pierre Matisse, 1947, in Alberto Giacometti, translated with an introduction by Peter Selz (The Museum of Modern Art, New York) 1965
Paris Post War: Art and Existentialism 1945-55 at the Tate Gallery until 5 September. Sponsored by the Independent and supported by the French Embassy in London.
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