Before the event it looked a disaster that the Giacometti retrospective here should have clashed with the one in New York. But in fact neither exhibition seems to have suffered—the most important unique work, the Museum of Modern Art’s “Palace at 4 am.,” was in any case too fragile to have traveled to London. What the double event proved, to most people’s surprise, was the massive scale of Giacometti’s output, even allowing for the fact that much of the work is cast. He was himself delighted by the coincidence of the two exhibitions and one almost felt that it had convinced him of something about his own work.

If one had been able to walk from this exhibition into a retrospective of almost any other major figurative artist of this century one would have been struck by the stable quality of Giacometti’s imagery. A work of 1945 takes its place beside a work of 1965 as of a piece. This is not

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