Permanent Collection

Les Renforts Calder created a huge stabile for the Fondation Maeght sculpture garden, titled Les Renforts. A fixed, three-dimensional sculpture made in 1964 from painted sheet metal, this monumental stabile stands to an impressive height of 5m70. Stabile: term coined by Jean Arp to contrast with the “mobile” sculptures which the American artist was also […]

Miró Labyrinth The Kite (1963) and The Lizard (1963) are found on the highest terrace in ceramic. Each on a wall, one is anchored and the other climbs like a gecko (a lucky charm in the Midi). Its irregular surface shows finger marks, those of Miró himself! The Tower (1963), in which three rounded ceramic

Luigi Mainolfi, Per quelli che volano Per quelli che volano (For those who fly) This work by Luigi Mainolfi overhangs the Cour Giacometti, its colour contrasting sharply with the Fondation’s immaculate white roofs. Per quelli che volano was given to the Fondation by Italian collector Giuliano Gori, following the exhibition on the Fattoria di Celle

Cour Giacometti Les œuvres présentées dans cette cour constituent l’aboutissement d’un travail entrepris par Giacometti dès 1947. En effet c’est à cette époque qu’Alberto Giacometti met au point ces figures émaciées, dont l’épiderme grumeleux garde l’empreinte de la main de l’artiste. Le 17 janvier 1959 Alberto Giacometti accepte, pour la première fois, une commande publique,

Alberto Giacometti, Le cube, 1934-35, bronze, 93,5 x 58,5 x 58 cm The Cube Giacometti designed the twelve-sided polyhedron as his only abstract sculpture. Only two known bronzes were made. That of the Fondation Maeght (1962, Susse foundry) does not have a self-portrait unlike the one at the Giacometti Foundation in Zurich (1959, Susse foundry).

Alberto Giacometti, Femme cuillère, 1926-27, bronze, 145 x 51 x 21 cm, exemplaire Fondation Maeght Spoon Woman She was the first monumental sculpture in Giacometti’s work, presented face on, with no arms or legs, on a pedestal. She is an inaccessible, vertical figure, the hieratism heralding the Standing Women, and yet a symbol of fertility

Alberto Giacometti, Le couple (Homme et femme), 1926, bronze, 59,5 x 37 x 17,5 cm, exemplaire Fondation Maeght Man and Woman, 1926 This sculpture is imbued with African art. A colour pencil and Indian ink study was done for it and was produced the same year as the Spoon Woman. Beyond this comparison, it alludes

Pol Bury, Boule et cylindre, 1999, acier inoxydable poli, hauteur 150 cm ; diamètre 50 cm Boule et cylindre Pol Bury se distingue des artistes -et amis- de l’art cinétique par l’utilisation du mouvement extrêmement lent comme moyen d’expression. Ces mouvements, presque imperceptibles et aléatoires de ses sculptures et reliefs nous confrontent à notre propre

Labyrinthe Miró : L’Arc, 1963, béton L’Arc 4 maquettes de L’Arc sont ici présentées. La sculpture définitive se situe sur la deuxième terrasse du Labyrinthe Miró, comme une porte ouverte sur un ailleurs. Composé de 30 tonnes de béton, il trône majestueusement et impose sa puissance à l’ensemble. Sur la surface granuleuse de cette sculpture

Max Ernst, Jeu d’échecs, c.1944, bois, résine et céramique, 32 pièces Chess set 32 pieces. Some pieces have signs. This chess set belonged to Madame Germaine Duhamel who gave it to Catherine Prévert (1944-2017), daughter of Gisèle and Pierre Prévert and niece of Jacques Prévert, when she married Daniel Vogel. Max Ernst (1891-1976) A German