Alberto Giacometti’s 1934 Cube stands apart for many as atypical of the Swiss artist, the only abstract sculptural work in a wide oeuvre that otherwise had as its objective the exploration of reality.
With The Cube and the Face, renowned French art historian and philosopher Georges Didi-Huberman has conducted a careful analysis of Cube, consulting the artist’s sketches, etchings, texts, and other sculptural works in the years just before and after Cube was created. Cube, he finds, is indeed exceptional—a work without clear stylistic kinship to the works that came before or after it. At the same time, Didi-Huberman shows, Cube marks the transition between the artist’s surrealist and realist phases and contains many elements of Giacometti’s aesthetic consciousness, including his interest in dimensionality, the relation of the body to geometry, and the portrait—or what Didi-Huberman terms “abstract anthropomorphism.” Drawing on Freud, Bataille, Leiris, and others Giacometti counted as influence, Didi-Huberman presents fans and collectors of Giacometti’s art with a new approach to transitional work.
具體描述
讀後感
評分
評分
評分
評分
用戶評價
感謝迪迪-於貝爾曼，讓我想寫的關於Giacometti和Durer的小文章徹底猝死。想求求於貝爾曼認真學習Panofsky，把瓦煲的方法論貫徹一下，不要再用現象學那套瞭。
评分感謝迪迪-於貝爾曼，讓我想寫的關於Giacometti和Durer的小文章徹底猝死。想求求於貝爾曼認真學習Panofsky，把瓦煲的方法論貫徹一下，不要再用現象學那套瞭。
评分感謝迪迪-於貝爾曼，讓我想寫的關於Giacometti和Durer的小文章徹底猝死。想求求於貝爾曼認真學習Panofsky，把瓦煲的方法論貫徹一下，不要再用現象學那套瞭。
评分感謝迪迪-於貝爾曼，讓我想寫的關於Giacometti和Durer的小文章徹底猝死。想求求於貝爾曼認真學習Panofsky，把瓦煲的方法論貫徹一下，不要再用現象學那套瞭。
评分感謝迪迪-於貝爾曼，讓我想寫的關於Giacometti和Durer的小文章徹底猝死。想求求於貝爾曼認真學習Panofsky，把瓦煲的方法論貫徹一下，不要再用現象學那套瞭。
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