Career
In 1962, Giacometti was awarded the grand prize for sculpture at the Venice Biennale, and the award brought with it worldwide celebrity. Even when he had achieved popularity and his works were in demand, he still reworked models, often destroying them or setting them aside to be returned to years later.
The prints produced by Giacometti are often overlooked but the catalogue raisonné, Giacometti - The Complete Graphics and 15 Drawings by Herbert Lust (Tudor 1970), comments on their impact and gives details of the number of copies of each print. Some of his most important images were in editions of only 30 and many were described as rare in 1970.
In his later years, Giacometti's works were shown in a number of large exhibitions throughout Europe. Riding a wave of international popularity, and despite his declining health, he traveled to the United States in 1965 for an exhibition of his works at the New York Museum of Modern Art.
As his last work he prepared the text for the book Paris sans fin, a sequence of 150 lithographs containing memories of all the places where he had lived.
Giacometti died in 1966 of heart disease and chronic bronchitis at the Kantonsspital in Chur, Switzerland. His body was returned to his birthplace in Borgonovo, where he was interred close to his parents.

Later years
Giacometti was a key player in the Surrealist Movement, but his work resists easy categorization. Some describe it as formalist, others argue it is expressionist or otherwise having to do with what Deleuze calls 'blocs of sensation' (as in Deleuze's analysis of Francis Bacon). Even after his excommunication from the Surrealist group, while the intention of his sculpting was usually imitation, the end products were an expression of his emotional response to the subject. He attempted to create renditions of his models the way he saw them, and the way he thought they ought to be seen. He once said that he was sculpting not the human figure but "the shadow that is cast."
Scholar William Barrett in Irrational Man: A Study in Existential Philosophy (1962), argues that the attenuated forms of Giacometti's figures reflect the view of 20th century modernism and existentialism that modern life is increasingly devoid of meaning and empty. "All the sculptures of today, like those of the past, will end one day in pieces... So it is important to fashion ones work carefully in its smallest recess and charge every particle of matter with life."

Artistic analysis
His work is in numerous public collections, including the Museum of Fine Arts, Zurich, the Museum of Modern Art in New York, the Museum of Fine Arts, Boston, the Solomon R. Guggenheim Museum in New York, and the Carnegie Institute in Pittsburgh. He created the monument on the grave of Gerda Taro at Père Lachaise Cemetery.
In 2001 he was included in the Painting the Century 101 Portrait Masterpieces 1900-2000 exhibition held at the National Portrait Gallery, London.
In November 2000 Grande Femme Debout I by Giacometti sold for $14.3 million.[1]
Giacometti and his sculpture Three Men Walking appear on the current 100 Swiss Franc banknote.

Gallery