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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

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Alberto Giacometti
Age: 64 †
Born: 1901
Born: October 10
Died: 1966
Died: January 11
Artist
Designer
Drawer
Graphic Artist
Jewelry Designer
Painter
Printmaker
Sculptor
Writer
Alberṭo Gʼaḳomeṭi
Thinking
Facts
People
Past
Thought
Reason
Many
Loneliness
Must
Talk
Never
Working
Think
Fact

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I see something, find it marvelous, want to try and do it. Whether it fails or whether it comes off in the end becomes secondary. . . . So long as I've learned something about why.
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Failure is my best friend. If I succeeded, it would be like dying. Maybe worse.
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In a burning building I would save a cat before a Rembrandt.
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If I see everything in gray, and in gray all the colors which I experience and which I would like to reproduce, then why should I use any other color?
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Only reality interests me now and I know I could spend the rest of my life in copying a chair.
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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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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.
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Whores are the most honest girls. They present the bill right away.
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The older I grow, the more I find myself alone.
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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.
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If only someone else could paint what I see, it would be marvellous, because then I wouldnt have to paint at all.
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If the glass there in front of me astounds me more than all the glasses I've seen in painting, and if I even think that the greatest architectural wonder of the world couldn't affect me more than this glass, it's really not worth while going to the Indies to see some temple or other when I have as much and more right in front of me.
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I've been fifty thousand times to the Louvre. I have copied everything in drawing, trying to understand.
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It is impossible to do a thing the way I see it because the closer I get the more differently I see.
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All I can do will only ever be a faint image of what I see and my success will always be less than my failure or perhaps equal to the failure.
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At first, one sees the person who is modelling but little by little, all of the possible sculptures that could be made come between artist and model.
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All the art of the past rises up before me, the art of all ages and all civilizations, everything becomes simultaneous, as if space had replaced time. Memories of works of art blend with affective memories, with my work, with my whole life.
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If we master a bit of drawing, everything else is possible.
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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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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!
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