Alberto Giacometti
Seated Nude, 1965
Lithograph on BFK Rives wove paper
29 3/4 x 22 in.
75.6 x 55.9 cm.
75.6 x 55.9 cm.
Edition 86/100
Signed lower right, numbered lower left
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Catalogues
Edmund Capon, Giacometti: Sculptures, Prints & Drawings from the Maeght Foundation (Sydney: Art Gallery of New South Wales, 2006).
Herbert C. Lust, Alberto Giacometti: The Complete Graphics (New York: Tudor Publishing Co., 1970), 66; 234; cat.no. 53.
In his editions, Giacometti utilized mark making much like pencil marks in drawing: searching, restless, and repeatedly reworked. Fragile, elongated figures emerge from dense networks of lines, conveying both physical...
In his editions, Giacometti utilized mark making much like pencil marks in drawing: searching, restless, and repeatedly reworked. Fragile, elongated figures emerge from dense networks of lines, conveying both physical presence and psychological uncertainty. Rather than describing the body with precision, Giacometti explored the instability of perception itself, a central concern in his postwar work. His etchings preserve the immediacy of sketching while examining themes of isolation, space, and human vulnerability.
Related artworks
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Alberto Giacometti, Portrait du Poete Orbandale, 1962 -
Alberto Giacometti, Portrait of Diego, 1951
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Alberto Giacometti, Reclining Woman, 1960
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Alberto Giacometti, The Artist’s Mother Seated I, 1965
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Alberto Giacometti, The Studio with Bottles, 1957
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