PUBLISHED IN ITALY, THE ITALIAN TEXT IS TRANSLATED INTO GERMAN, ENGLISH, AND FRENCH.
LIMITED TO 3000 COPIES, THIS ONE IS NUMBER 2708. Lacking dust jacket, published by Editoriale Domus of Rome in 1973. The book is in VERY GOOD CONDITION. Mostly clean brown cloth boards, with a few soil spots, and a small moisture stain right lower part of the front board. The are 3 small indents, cloth not broken, on the front board, 1 on each side. CLEAN INTERIOR, no marks, crisp white pages. There is an embossed previous owner stamp on title page. Nothing further note on 221 solidly bound pages with STUNNING INK DRAWINGS BY ALBERTO GIACOMMETTI.
On this sculptor from Wikipedia:
"Alberto Giacometti (UK: /ˌdʒækəˈmɛti/, US: /ˌdʒɑːk-/, Italian: [alˈbɛrto dʒakoˈmetti]; 10 October 1901 – 11 January 1966) was a Swiss sculptor, painter, draftsman and printmaker. Beginning in 1922, he lived and worked mainly in Paris but regularly visited his hometown Borgonovo to see his family and work on his art.
Giacometti was one of the most important sculptors of the 20th century. His work was particularly influenced by artistic styles such as Cubism and Surrealism. Philosophical questions about the human condition, as well as existential and phenomenological debates played a significant role in his work." Around 1935 he gave up on his Surrealist influences in order to pursue a more deepened analysis of figurative compositions. Giacometti wrote texts for periodicals and exhibition catalogues and recorded his thoughts and memories in notebooks and diaries. His critical nature led to self-doubt about his own work and his self-perceived inability to do justice to his own artistic vision. His insecurities nevertheless remained a powerful motivating artistic force throughout his entire life."
Here is a passage on Giacometti and drawing found online:
"After his formative years at the Académie de la Grande Chaumière (1922–6), Giacometti rejected working from the model and used drawing as an exercise accompanying the development of his thinking. Alongside the preparatory sketches in his many notebooks, drawn mainly in pencil, he also made separate drawings on individual sheets that he reprised carefully in his works in pen and ink. In his notebooks he also made numerous sketches of his existing works, from memory. These inaugurated his singular practice of ‘retrospective’ drawing, made famous by his 1947 Lettre à Pierre Matisse. This would remain a part of the artist’s ongoing reflection and discourse on his work right up to the end of his career."
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