Henry Moore And Giacometti Analysis

INTRODUCTION

I became interested about Alberto Giacometti and Kasimir Malevich when I was in school studying about them. They offered a series of responses to the Art and I was inspirited by experience of researching, reading and watching about their work and personality.For this reason I have decided to bring them back from my past memory in this presentation. They shaped me by their style. The existentialism and the solitude of Giacometti's figures, wandering in the vacuity of space and the supremacy to Malevich about the construction of forms starting from nothing but it have had walking with my thoughts till now. Into my small as human being part of this map like is the journey of life I tried using Art to improve my way to understand

It is certainly hard to imagine Moore's own innovative experiments in the 1930s without Giacometti's example. And Giacometti's figurative work was vital in re-establishing the figure as a viable motif in the post-war period, at a time when abstract art dominated. His spindly bronze figures, which appear punctured and fragile, compressed in space, are in many respects visual manifestations of Existentialist thought, emblems of the condition of modern humanity ravaged by

That Suprematism which, underlined Michel Seuphor, "was an act of faith and had to have unpredictable followings; it was an end and a beginning ". And, running "beyond the zero", at a vertiginous speed, in the opposite direction to the journey without the rest of the other painting - the painting that aspires to the chimeric half of the total mimesis -, the Russian artist reaches, shortly thereafter , its own goal, the threshold that is not to be surpassed. It is 1918 when he paints the White Square on a white background. Casimir knows he can not open that door. Absence - absolute absence - is in reality the presence of something that no man is able to compare with something else, or to surpass. The white square is, if anything, "the impulse towards the foundation of the construction of the world as 'pure action', that is, as a knowledge of oneself in perfection". Consistent with the supremacist assumption, even (and above all) this "extreme" work carries within its own fibers - in its pictorial essence - that which transcends it, as a precious and indivisible gift. And Malevich says stop. Put the brushes and palette in the attic. He dedicated himself to the supremacist cause, theorising it on philosophical bases,