“She’s big as a man’s fist,
Big as a black-pepper shaker
Filled with gris-gris dust,
Like two fat gladiolus bulbs
Grown into a burst of twilight.
Lumpy & fertile, earthy
& egg-shaped, she’s pregnant
With all the bloomy hosannas
Of love hunger. Beautiful
In a way that forces us to look
At the ground, this squat
Venus in her braided helmet
Is carved from a hunk of limestone
Shaped into a blues singer.
In her big smallness
She makes us kneel.”[i]
[i] Komunyakaa, Yusef; Talking Dirty to the Gods; Farrar, Straus and Giroux; New York, New York; 2000; p. 17.
“In the Palace at 4 A.M. you walk from one room to the next by going through the walls. You don’t need to use the doorways. There is a door, but it is standing open, permanently. If you were to walk through it and didn’t like what was on the other side you could turn and come back to the place you started from. What is done can be undone.”[i]
In a drawing of the interior of his studio in 1932, we can see an in progress state of this sculpture sitting squarely in the middle ground. Alberto Giacometti completed the “Palace at 4:00 AM” sometime in 1933 and by 1936 it had been purchased by the Museum of Modern Art in New York for its permanent collection.
“This object took shape little by little in the late summer of 1932; it revealed itself to me slowly, the various parts taking their exact form and their precise place within the whole. By autumn it had attained such reality that its actual execution in space took no more than one day.
It is related without any doubt to a period in my life that had come to an end a year before, when for six whole months hour after hour was passed in the company of a woman who, concentrating all life in herself, magically transformed my every moment. We used to construct a fantastic palace at night—days and nights had the same color, as if everything happened just before daybreak; throughout the whole time I never saw the sun—a very fragile palace of matchsticks.
At the slightest false move a whole section of this tiny construction would collapse.
We would always begin it over again.
I don’t know why it came to be inhabited by a spinal column in a cage—the spinal column this woman sold me one of the very first nights I met her on the street—and by one of the skeleton birds that she saw the very night before the morning in which our life together collapsed—the skeleton birds that flutter with cries of joy at four o’clock in the morning very high above the pool of clear, green water where the extremely fine, white skeletons of fish float in the great unroofed hall.
In the middle there rises the scaffolding of a tower, perhaps unfinished or, since its top has collapsed, perhaps also broken.
On the other side there appeared the statue of a woman, in which I recognize my mother, just as she appears in my earliest memories. The mystery of her long black dress touching the floor troubled me;
it seemed to me like a part of her body, and aroused in me a feeling of fear and confusion. All the rest has vanished, and escaped my attention. This figure stands out against the curtain that is repeated three times, the very curtain I saw when I opened my eyes for the first time . . . .
I can’t say anything about the red object in front of the board;
Although Giacometti’s statement is a piece of surrealist writing in and of itself, it is a very lyrical story. As is the original sculpture. Its effect on the art world was almost immediate. At least three pieces by David Smith can trace their roots to this piece: “Home of the Welder” from 1945, “Interior for Exterior” from 1939, and “Interior” from 1937.
Between 1935 and 1966 the sculptor Isamu Noguchi designed a total of twenty stage sets for the Martha Graham Dance Company. Sometime in the early 1940’s the choreographer approached the sculptor, proposing that he design the stage set for a new ballet. She insisted that he accompany her, right then and there, to the Museum of Modern Art to view Alberto Giacometti’s sculpture “The Palace at 4:00 AM.” Noguchi knew in an instant what Ms. Graham was asking of him and the quality of space that she was looking for. He agreed immediately to a stage design based on this piece and working with the composer Aaron Copeland the three of them produced one of the most important ballets of the 20th Century: “Appalachian Spring.”[iii]
The influence of this piece has continued to this day and has crossed over many boundaries and disciplines. In his novel of 1996, So Long, See You Tomorrow, William Maxwell uses this sculpture as both a reference and a structure for his writing. He weaves it in and out of the story in the same way that his characters, two young boyhood friends, weave their own way through growing up in the small town in Lincoln, Illinois.
“When, wandering through the Museum of Modern Art, I come upon the piece of sculpture by Alberto Giacometti with the title ‘Palace at 4 a.m.,’ I always stand and look at it—partly because it reminds me of my father’s new house in its unfinished state and partly because it is so beautiful”
“I seem to remember that I went to the new house one winter day and saw snow descending through the attic to the upstairs bedrooms. It could also be that I never did any such thing, for I am fairly certain that in a snapshot album I have lost track of there was a picture of the house taken in the circumstances I have just described, and it is possible that I am remembering that rather than the actual experience. What we, or at any rate what I, refer to confidently as memory—meaning a moment, a scene, a fact that has been subjected to a fixative and thereby rescued from oblivion—is really a form of storytelling that goes on continually in the mind and often changes with the telling. Too many conflicting emotional interests are involved for life ever to be wholly acceptable, and possibly it is the work of the storyteller to rearrange things so that they conform to this end.”[iv]
[i] Maxwell, William; So Long, See You Tomorrow; Vintage International; New York, New York; 1996; pp. 131-132.
[ii] Selz, Peter; Alberto Giacometti; The Museum of Modern Art and Doubleday & Company; New York, New York; 1965; p. 44.
[iii] Graham, Martha; Blood Memory: An Autobiography; Doubleday; New York, New York; 1991; p. 223.
[iv] Maxwell, William; So Long, See You Tomorrow; pp. 25-27.
“It’s me. One day I saw myself in the street just like that. I was the dog.”[i]
“The Dog of Art”
“That dog with daisies for eyes
who flashes forth
flame of his very self at every bark
is the Dog of Art.
Worked in wool, his blind eyes
look inward to caverns and jewels
which they see perfectly,
and his voice
measures forth the treasure
in music sharp and loud,
sharp and bright,
bright flaming barks,
and growling smoky soft, the Dog
of Art turns to the world
the quietness of his eyes.”[ii]
The first time I had heard of the ‘dog of art’ was through this work and from other poets, especially in Baltimore: Jean Rubin and Dr. William Kinter. And later through Edward Hirsch when he visited here in Indianapolis and Chicago. The dog of art was a daemon of sorts: an impish figure who would torture every artist. Pinching a nose here, pulling on an ear there. Tickling or itching one’s body in some way that just could not be ignored, as hard as one might try.
This of course created a tension, a sense that could only be released or satisfied by making something! Denise Levertov and Edward Hirsch are both writers who have shown us this fact. Over and over. The discipline of a writer who continually carves out a vision and a voice. Exactly what Alberto Giacometti would do: not just in sculpture, but he is carving out a space or form in every one of his paintings and drawings as well.
Whether he was crossing the street near 46 rue Hippolyte-Maindron in Paris to make his way from his studio to a café, or returning to the studio, he was like a dog in the rain, wasn’t he? Caught in a significant moment by Henri Cartier-Bresson on one of these daily trecks, his coat pulled up over his head to protect from the rain, he rarely strayed from his usual patterns.
As the writer James Lord described it, it was in this nearby café where Alberto “…ate what was his ritual lunch: two hard boiled eggs, two slices of cold ham with a piece of bread, two glasses of Beaujolais, and two large cups of coffee.”[iii] He ordered this very same combination for almost 40 years. He worked every day and made his models do the same. Strictly. Religiously.
“…a street during the rain and the figure was me….Me scurrying down the street in the rain.”[iv]
“Trying to remember old dreams. A voice. Who came in.
And meanwhile the rain, all day, all evening,
quiet steady sound. Before it grew too dark
I watched the blue iris leaning under the rain,
the flame of the poppies guttered and went out.
A voice. Almost recalled. There have been times
the gods entered. Entered a room, a cave?
A long enclosure where I was, the fourth wall of it
too distant or too dark to see. The birds are silent,
no moths at the lit windows. Only a swaying rosebush
pierces the table’s reflection, raindrops gazing from it.
There have been hands laid on my shoulders. What has been said to me, how has my life replied?
The rain, the rain….”[v]
[i] Selz, Peter; Alberto Giacometti; The Museum of Modern Art and Doubleday & Company; New York, New York; 1965; p. 62.
[ii] Levertov, Denise; “The Dog of Art,” Collected Earlier Poems 1940-1960; New Directions Publishing Corporation; New York, New York; 1979; p. 118.
[iii] Lord, James; A Giacometti Portrait; The Museum of Modern Art and Doubleday & Company; New York, New York; 1968; p. 9.
[iv] Selz, Peter; Alberto Giacometti; The Museum of Modern Art and Doubleday & Company; New York, New York; 1965; pp. 56-57. Photo credit: Herbert Matter.
[v] Levertov, Denise; “The Rain,” Poems 1968-1972; New Directions Publishing Corporation; New York, New York; 1987; p. 53.
It could have been a reference to an ancient or biblical theme, the good shepherd or the calf bearer. An image of a man carrying a calf or a sheep on his shoulders, having just rescued it, and returning it to the flock. Pablo Picasso used many such themes and ideas in his work, however, he usually denied it in reference to this particular piece. “The man could just as well be carrying a pig as a sheep! There is no symbolism in it. It is just something beautiful.”[i]
Shifting back and forth from serious to playful, perhaps he is being sly or evasive? Or surrealistic and poetic like his friend of more than forty years, Max Jacob? Picasso and Jacob met in 1901 and became fast friends. Jacob was the first Parisian to teach Picasso French. And, as an early art critic, he wrote enthusiastically about Picasso’s work. Jacob was also a painter, cubist/surrealist poet, bon vivant, homosexual and a Jew. As described by Roger Shattuck, the beginning of the 20th Century was an exhilerating time: “In its early demonstrations the avant-garde remained a true community, loyal to itself and to its time…. Painters, writers, and musicians lived and worked together and tried their hands at each other’s arts in an atmosphere of perpetual collaboration.”[ii]
“When you paint a picture, it completely changes with each brushtroke, turning like a cylinder, almost interminably. When it stops turning, it’s finished. My latest was a Tower of Babel made of lighted candles.”[iii]
Max Jacob was originally from Quimper in Brittany, France. A street, a bridge, a high school and even the courtyard of the house at 8, rue de Parc, in Quimper bear his name. The Musee des Beaux-Arts in Quimper even has a room dedicated to Jacob featuring his drawings, paintings, and manuscripts. It was there, during the summer of 1997 that I first learned about several details of his life. In Quimper and in Paris during the summer of 1994—the 50th anniversary of Jacob’s death, there was an exhibition documenting this almost lifelong friendship between Max Jacob and Pablo Picasso.
“All it takes is a five-year-old in pale overalls drawing in a coloring book for a door to open into the light, for the house to be built again and the ochre hillside covered with flowers.”[iv]
Picasso claims to have completed “The Man with the Sheep” in a burst of spontaneous energy in just one day. It was first in plaster, with the legs a bit too thin to support the upper half, so he and an assistant hoisted it up with ropes, he finished what needed to be done, and then had it cast in bronze right away. However, there are several drawings made as studies for this piece from the previous year. Not only was the position of the sheep not to his liking, but the head of the figure went through several stages: a younger man, then an older one; a clean shaven figure, then a bearded one, and so on.
At the end he, Picasso, modelled the face of his friend Max Jacob onto this figure. When the piece had been cast, Picasso placed it at the top of the stairs to his studio on the rue des Grands-Augustins. Often SS Officers would climb just to the top of the stairs in surprise inspections and be met by the “Man Holding a Sheep.” They looked quickly around and returned down to the street, not realizing that Jacob had been looking down on them. Max Jacob had been arrested by the SS earlier, and was in the process of being shipped to Auschwitz, however, he died from bronchial pneumonia while in one of the deportation camps at Drancy, France.
“The Yellow Star Again”
“Are those beets your dog’s eating?”
“No, it’s a Jew who fell in the snow.”
“They could find some other place to faint instead of my sidewalk.”[v]
[i] Bernadac, Marie-Laure; Picasso Museum, Paris: The Masterpieces; Reunion des Musees Nationaux and Prestel; Paris and munich; 1991; p. 162.
[ii] Shattuck, Roger; The Banquet Years: The Origins of the Avant-Garde in France 1885 to World War I; Vintage Books, Random House; New York, New York; 1968; p. 28.
[iii] Kulik, William, editor and translater; The Selected Poems of Max Jacob; Oberlin College Press; Oberlin, Ohio; 1999; p. 57.
[iv] Kulik, William, editor and translater; The Selected Poems of Max Jacob; p. 129.
[v] Kulik, William, editor and translater; The Selected Poems of Max Jacob; p. 122.
“. . . God said to Abraham, ‘Kill me a son’
Abe says, ‘Man, you must be puttin’ me on’
God say, ‘No’ Abe say, ‘What?’
God say, ‘You can do what you want, Abe, but
The next time you see me comin’, you better run’
Well, Abe says, ‘Where d’you want this killin’ done?’
God says, ‘Out on Highway 61’”[i]
It is one of the great Old Testament stories regarding Abraham’s sacrifice of his son Isaac in order to somehow and ultimately prove his faith. He struggled with this dearly. A very important depiction of this is the one above that Lorenzo Ghiberti used as the presentation piece for the commission of the bronze doors in the Basilica at Florence in 1401.
Another powerful image is an etching by Rembrandt in the collection of the Art Institute of Chicago. The processes of etching and drypoint not only illustrate the story but parallel the psychological struggle through physical struggle and manipulation of the medium. Rembrandt, always being a master of both the formal and the personal, combines these elements into a universal statement.
We need only to come to the late 1960’s in America for several other critical examples. These years proved to be a shocking turning point in the lives of many people. Earlier civil rigths demonstrations had evolved into anti-war demonstrations. Meanwhile, a music and arts festival was held in a sleepy town in upstate New York in August 1969. But, by May of the next year, the Kent State Massacre had occurred.
Upon hearing of the massacre at Kent State and seeing this photograph for the first time, the singer songwriter Neil Young penned what would become an anthem performed by Crosby, Stills, Nash and Young: “Ohio.”
“Gotta get down to it
Soldiers are cutting us down
Should have been done long ago.
What if you knew her
And found her dead on the ground
How can you run when you know?
Tin soldiers and Nixon coming,
We’re finally on our own.
This summer I hear the drumming,
Four dead in Ohio.”[ii]
In 1978 Kent State University commissioned the sculptor George Segal to create a memorial to the people killed in the massacre. Segal chose as his theme the Old Testament story of Abraham and Isaac. Safe enough at the time. The piece was actually completed and about to be installed when the university had second thoughts. The sculpture was never installed and offered instead to the Princeton University Art Museum, where it now sits in the courtyard near the University Chapel.
The situation was offensive all the way around, but, it was most offensive because the Kent State officials did not want to be associated with the idea that one generation was willing to sacrifice another for the sake of a totally misguided involvement in a distant war.
Although a very safe and more abstract memorial now occupies the spot of the Kent State Massacre, the question still remains, when and how will we ever learn to work to end war, rather than to invest in and profit from, the engagement in war?
“Now the roving gambler he was very bored
He was tryin’ to create a next world war
He found a promoter who nearly fell off the floor
He said I never engaged in this kind of thing before
But yes I think it can be very easily done
We’ll just put some bleachers out in the sun
And have it on Highway 61”[iii]
[i] Dylan, Bob; “Highway 61 Revisited,” Writings and Drawings; Alfred A. Knopf, Borzoi Books; New York, New York; 1973; pp. 196.
[ii] Young, Neil; “Ohio,” Live at Massey Hall, 1971; audio recording, BOOOMTPANG; Reprise Records; New York, New York; 2007.
[iii] Dylan, Bob; “Highway 61 Revisited,” Writings and Drawings; pp. 196.