French Sculpture Census

crédits photo : ph. courtesy Minneapolis Institute of Art
© artiste : Fair Use (Section 107, Copyright Act, 1976)

Borgonovo, Suisse 1901 - Coire, Suisse 1966

Exécutant: Susse



62,2 x 26,4 x 19
signé : 4/6 Alberto Giacometti Susse Fondeur Paris

N° d'inv. : 2000.109
Credit Line : Gift of the Sara Lee Corporation

Minneapolis, Minnesota, The Minneapolis Institute of Art


  • 1963, 30 mai, Galerie Maeght
  • Chicago, Mr. and Mrs. Nathan Cummings
  • The Sara Lee Collection
  • 2000, don de la Sara Lee Corporation


  • Museum's website, October 15, 2015
  • 1971 Hohl
    Reinhold Hohl, Alberto Giacometti, New York, Harry N. Abrams, 1971, p. 265


  • 1970-1971 Washington/New York
    Selections from the Nathan Cummings Collection, Washington, National Gallery of Art, June 28-September 1, 1970; New York, Metropolitan of Art, July 1-September 7, 1971, no. 72
  • 1973 Chicago
    Major Works from the Collection of Nathan Cummings, Chicago, The Art Institute, October 20-December 9, 1973, no. 77
  • 1990-1991 Winston-Salem/Memphis
    An Impressionist Legacy: The Colection of Sara Lee Corporation, Winston-Salem, Reynolda House Museum of American Art, September 9-December 25, 1990; Memphis, Dixon Gallery and Gardens, January 20-March 17, 1991
  • 1999-2000 Singapore/Canberra/Raleigh/Oregon/Chicago
    Monet to Moore : the millenium gift of Sara Lee Corporation, Singapore Museum of Art, April 1-May 30, 1999; Canberra, National Gallery of Australia, September 10-November 7, 1999; Raleigh, North Carolina Museum of Art, September 10-November 7, 1999; Oregon, Portland Art Museum November 19, 1999-January 23, 2000; Chicago, The Art Institute, March 13-May 28, 2000, no. 15


Museum's website, October 15, 2015 :
A remarkable example of Giacometti's late sculpture, this bronze portrait bust of Diego Giacometti, the artist's younger brother and frequent model, was executed as part of a series completed three years before Alberto's death. Diego, a gifted furniture designer, often assisted in the casting of his brother's work. This bust exhibits an expressive power attributable to the fuller forms and more vigorous modeling of Giacometti's later style. Recognizable details such as facial features and clothing also evidence the greater naturalism of this period. In portrait sculpture, one of Giacometti's primary goals was to transfix the viewer by the sitter's gaze; in this instance, he succeeds with poignancy.