Previously, each group will invent a context or environment, define the character’s routine, and give shape to his life and personality. Whatever you invent for the character has to be based on the sculpture itself and your discussions about it. Throughout his career, Alberto Giacometti (1901–1966) took part in various 20th century avant-garde movements. From the 1950s, he felt drawn by existentialism, whose influence is visible in works like this one, entitled Walking Man I. Giacometti displayed precocious talent and was much encouraged by his father, Giovanni, a Post-Impressionist painter, and by his godfather, Cuno Amiet, a Fauvist painter. He spent a happy childhood in the village of Stampa, to which he returned regularly until his death.

His Gazing Head 1929 sculpture is a rectangular ‘plaque’, shown here in the plaster and terracotta versions. In this single, wondrously productive annus mirabilis, he created the first of his many walking men and the boldly gesticulating L’homme au doigt, all life-size. These new sculptures were without precedent or parallel, unless one went back to the most primitive works utilization will always be lower than efficiency because: of ancient man. L’homme au doigt, James Lord wrote, is ‘widely and rightly considered to be one of the artist’s most important and evocative works’. In the post-war era, Giacometti had made it his challenge and task to reinvent the very idea of sculpture, breaking through traditional conventions of modelling to find a truly personal way to express his vision of reality.

The perspective system is a cultural convention well suited to a traditional western European idea of the “truth,” that is, an accurate, clear rendition of observed reality. Even after the invention of linear perspective, many cultures traditionally use a flatter pictorial space, relying on overlapped shapes or size differences in forms to indicate this same truth of observation. Examine the miniature painting of the Third Court of the Topkapi Palacefrom fourteenth-century Turkey to contrast its pictorial space with that of linear perspective. It’s composed from a number of different vantage points , all very flat to the picture plane. While the overall image is seen from above, the figures and trees appear as cutouts, seeming to float in mid air. Notice the towers on the far left and right are sideways to the picture plane.

I would look at Mr. van Eyck’s worried expression, and I would remind myself that even the masters suffer from insecurities or doubts regarding the work. I also told myself that as long as “I did it as best as I could” everything would be okay. The drawing, a black chalk on paper, is a truthful study of a worn old woman. The detail of the wrinkles and saggy skin may shock us at first, but the drawing has a tremendous sincerity. The beauty of the drawing does not lie in the beauty of its subject, but in the true rendering of human aging. Meanwhile in Italy, panel paintings were mainly executed in tempera until the 16th century, Dutch and Flemish painters preferred oil paint because it satisfied their interest in meticulous, naturalistic detail.

In this panel, humans are committing all kinds of folly and stupid acts, also engaging in sexual pursuits. Humans are tortured in all possible ways by a legion of animal-like demons. As a true designer, Alberto Giacometti began producing decorative objects in 1929. That year, he obtained a first order to furnish the office of banker Pierre David-Weill. Subsequently, in the 1930s, he collaborated on several times with the avant-garde decorator Jean-Michel Frank. His lamps and floor lamps, wall lights and other vases or bas-reliefs are highly appreciated.