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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
Must
Talk
Never
Working
Think
Fact
Thinking
Facts
People
Past
Thought
Reason
Many
Loneliness

More quotes by Alberto Giacometti

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In a fire, between a Rembrandt and a cat, I would save the cat.
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It was always disappointing to see that what I could really master in terms of form boiled down to so little.
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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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Taste for things of the past evolves, doesn't it? What was a masterpiece a hundred years ago is no longer so today.
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The more I work, the more I see things differently, that is, everything gains in grandeur every day, becomes more and more unknown, more and more beautiful. The closer I come, the grander it is, the more remote it is.
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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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The older I grow, the more I find myself alone.
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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 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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I've been fifty thousand times to the Louvre. I have copied everything in drawing, trying to understand.
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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 head is what matters. The rest of the body plays the part of antennae making life possible for people and life itself is inside the skull.
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What I am looking for is not happiness. I work solely because it is impossible for me to do anything else.
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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.
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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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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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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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