Alberto Giacometti



Not on display

Alberto Giacometti 1901–1966
Oil paint on canvas
Support: 1295 × 806 mm
frame: 1320 × 824 × 51 mm
Purchased with assistance from the Friends of the Tate Gallery 1965

Display caption

Sylvester compared the process of revision evident in Giacometti''s paintings and sculptures, to the process of developing an argument. One puts forward a thesis, becomes aware of the opposing view, tries to incorporate that view, and so finds a new balance. ''Each day''s work [for Giacometti]'', Sylvester wrote, ''seemed an attempt to reconcile the contradictions between what had been got so far and what emerged as he went on looking.''

Gallery label, September 2004

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Catalogue entry

Alberto Giacometti 1901-1966

T00781 Caroline 1965

Inscribed 'Alberto Giacometti 1965' b.r.
Oil on canvas, 51 x 31 3/4 (130 x 80.5)
Purchased from the artist (Grant-in-Aid) with the aid of the Friends of the Tate Gallery 1965
Exh: Alberto Giacometti: Sculpture Paintings Drawings 1913-65, Tate Gallery, July-August 1965 (153); Giacometti-Udstillingen, Louisiana Museum, Humlebaek, September-October 1965 (142)
Lit: Reinhold Hohl, Alberto Giacometti: Sculpture Painting Drawing (London 1972), pp.185, 282-4
Repr: The Friends of the Tate Gallery: Annual Report 1st May 1965-30th April 1966 (London 1966), p.24; The Tate Gallery (London 1969), p.161

This picture and T00782 are of the same model and were said by the artist to have T00781 been painted at the same time from slightly different distances. Giacometti continued to work on them up to the time of the Tate exhibition.

Caroline was a friend of his, who sat to him for paintings and sculptures almost every evening from 1960 on for more than four years, from about nine to midnight or one o'clock. The pictures must have been painted by artificial light.

Published in:
Ronald Alley, Catalogue of the Tate Gallery's Collection of Modern Art other than Works by British Artists, Tate Gallery and Sotheby Parke-Bernet, London 1981, p.284, reproduced p.284


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