![]() ![]() In 1927 he sculpted a square Head (Self-Portrait) in which the face is reduced to a purely graphic, abstract linear sign etched into the material. These rigorously flat compositions, displaying a typically surrealist expression of anxiety and erotic drive, directly echo his sculptures. The presence of the white paper as a ground on which he traced his floating forms became one of his stylistic traits, while a framing line bestowed an overall solidity. This technique, which was close to writing, enabled him to translate language processes into his visual works. This would remain a part of the artist’s ongoing reflection and discourse on his work right up to the end of his career.ĭuring his surrealist period (c.1929–35) Giacometti neglected, but did not totally abandon, ‘conventional’ perspective and the chiaroscuro drawing technique in favour of a combination of abstract signs and stylised figurative motifs. These inaugurated his singular practice of ‘retrospective’ drawing, made famous by his 1947 Lettre à Pierre Matisse. In his notebooks he also made numerous sketches of his existing works, from memory. Alongside the preparatory sketches in his many notebooks, drawn mainly in pencil, he also made separate drawings on individual sheets that he reprised carefully in his works in pen and ink. ![]() ![]() After his formative years at the Académie de la Grande Chaumière (1922–6), Giacometti rejected working from the model and used drawing as an exercise accompanying the development of his thinking. ![]()
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