In a burning building I would save a cat before a Rembrandt.
ALBERTO GIACOMETTIWhen I make my drawings… the path traced by my pencil on the sheet of paper is, to some extent, analogous to the gesture of a man groping his way in the darkness.
More Alberto Giacometti Quotes
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I’ve tried doing so, for it was never my intention to paint only with gray. But in the course of my work I have eliminated one color after another, and what has remained is gray, gray, gray!
ALBERTO GIACOMETTI -
I don’t know if I work in order to do something, or in order to know why I can’t do what I want to do.
ALBERTO GIACOMETTI -
If only someone else could paint what I see, it would be marvellous, because then I wouldnt have to paint at all.
ALBERTO GIACOMETTI -
I paint and sculpt to get a grip on reality… to protect myself.
ALBERTO GIACOMETTI -
All the sculptures of today, like those of the past, will end one day in pieces… So it is important to fashion ones work carefully in its smallest recess and charge every particle of matter with life.
ALBERTO GIACOMETTI -
Artistically I am still a child with a whole life ahead of me to discover and create. I want something, but I won’t know what it is until I succeed in doing it.
ALBERTO GIACOMETTI -
The object of art is not to reproduce reality, but to create a reality of the same intensity.
ALBERTO GIACOMETTI -
When I make my drawings… the path traced by my pencil on the sheet of paper is, to some extent, analogous to the gesture of a man groping his way in the darkness.
ALBERTO GIACOMETTI -
The older I grow, the more I find myself alone.
ALBERTO GIACOMETTI -
In the past I have never thought about loneliness when working, and I don’t think about it now. Yet there must be a reason for the fact that so many people talk about it.
ALBERTO GIACOMETTI -
What I am looking for is not happiness. I work solely because it is impossible for me to do anything else.
ALBERTO GIACOMETTI -
I don’t know who I am or who I was. I know it less than ever. I do and I don’t identify myself with myself. Everything is totally contradictory, but maybe I have remained exactly as I was as a small boy of twelve.
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The human face is as strange to me as a countenance, which, the more one looks at it, the more it closes itself off and escapes by the steps of unknown stairways.
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When I see a head from a great distance, it ceases to be a sphere and becomes an extreme confusion falling down into the abyss.
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Taste for things of the past evolves, doesn’t it? What was a masterpiece a hundred years ago is no longer so today.
ALBERTO GIACOMETTI