Multiple Dimensions

As an important figure in the western art history in the twentieth century,Alberto Giacometti started his art career from the 1920 s onwards through the second World War,in which period many styles involved.Closely related to most of the art movements in the first half of the 20 th century,Giacometti maintained close contact with the central figures in various ideological trends in the modernist period.It can be said that he is a crucial figure in modern art.He is best known for his work of the slender figure which overturned the previous criterion of sculptural form.After World War ?,his work inspired the existentialist theorists and from whom he got benefit as well in term of inspiration and reputation.In this regard,his work was interpreted by Sartre et al.,thus achieving a worldwide influence.In consideration of the long lifetime span and diversity of Giacometti's works,this paper focuses on the figurative sculpture within 30 years,the period from the artist's quit of Surrealism in 1935 to his death in 1966.At this stage of creation,Giacometti's work still remained rich and complex orientations.Thus,this thesis “Multiple Dimensions-Research on Giacometti's Sculpture after 1935” forms the author's writing structure based on the later sculpture of Giacometti,and analyzes the multiple dimensions in which examples.“Multiple Dimensions” include the following aspects: the first and second chapter of this paper are the “interpretation dimension” of Giacometti.A textual and theoretical analysis was made around the existentialist and phenomenological interpretations that exert an important impact on the understanding of Giacometti.In accordance with the acceptance and study of Giacometti in the context of China,the author made the following discussions,what is the background and timing of the introduction of Giacometti to Chinese audience? How do we understand this artist? What new interpretations or even misinterpretations have been generated therein? The second “dimension” discusses the visual aspect on Giacometti's portrait work,especially head portrait that Giacometti put the most focus on.The author suggests the reason why he returned to the representational was that he had a strong subjective visual habit,he wanted a more clear watching and injected the subjective view into his work,all which conclusions are based on the analysis of the portrait work.The third dimension focuses on the special period in the later creation of Giacometti in order to explore the formal language in Giacometti's sculpture,the relationship he dealt between the theme and the form in reflection of the zeitgeist.In the paper,the first two chapters studies the relations between Giacometti and interpretation words by means of theory analysis.The third chapter traces back to the art work itself and corresponds the work to his thoughts and writing in his Collection mainly through image study and formal analysis method,trying to display and restore a real artist Giacometti,rather than the one has been wrapped by layers of expository discourse.