By Georges Didi-Huberman, Mira Fliescher, Elena Vogman
With The dice and the Face, well known French paintings historian and thinker Georges Didi-Huberman has carried out a cautious research of Cube, consulting the artist’s sketches, etchings, texts, and different sculptural works within the years earlier than and after Cube was created. Cube, he reveals, is certainly exceptional—a paintings with out transparent stylistic kinship to the works that got here earlier than or after it. while, Didi-Huberman indicates, Cube marks the transition among the artist’s surrealist and realist stages and includes many parts of Giacometti’s aesthetic recognition, together with his curiosity in dimensionality, the relation of the physique to geometry, and the portrait—or what Didi-Huberman phrases “abstract anthropomorphism.” Drawing on Freud, Bataille, Leiris, and others Giacometti counted as impact, Didi-Huberman offers enthusiasts and creditors of Giacometti’s paintings with a brand new method of transitional work.
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Additional resources for The Cube and the Face: Around a Sculpture by Alberto Giacometti
In the studio drawing, for exanlple, aIl the abjects in general have a lnuch greater base th an aIl of the bodies that are represented (fig. 18). ), in turmoil, distraught even (as in our polyhedron), siInply sketched (as in the painting placed on the ground), or even reduced to the size of a perforated screen (the mask placed over the door). Through a kind of inversion of values, the abjects here get the better of the bodies, as though the objects alone-even if they are transparent, even 38 Face of the Cage and the Transparent Crystal Fig.
We can sense, on the one hand, the academism that such drawing continuously concealed in GiacOluetti's work. The artist followed here in the footsteps of his fore- 32 Face of the Drawing that Seeks its Volume Fig 16: Albrecht Dürer: Stereometrie Upper Body_and largerwritten part (before 1519). Drawing from the Dresden Sketchbook, 29,30 x 20,80 cm. fathers; his real father, Giovanni, the great drawer, the painter who planted his easel in front of every rllodel to be drawn/ 6 and his syrnbolic fathers, for exarnple Bourdelle.
The relation to the visual, the face-to-face confrontation inlposed by the Cube would then become that of a subject cOlning to experience the subject's own alteration or division in the altered object-an object devoted to alterity-that faces up to it. As though casting one's eyes on this object arnounts to feeling as though one were being "looked at," that is to say split. As though the object's internaI alteration becomes, in the spectator's eyes, the irnage of an alteration that was internaI to the very act of raising one's eyes or looking up.