This paper interrogates the interpretation given by Genet of Giacometti's art, based on the capacity of aesthetisation of the world the critic sees in it. By transfiguring nakedness and loneliness in "glorious" condition, the painter-sculptor points out the singularity of each being and each object. One must also consider how this transfiguration can touch the artist's image itself, once he is considered as character by the critic.
Jean Genet; Alberto Giacometti; Aesthetization of misery