ABSTRACT
This Chapter will explore the possible meaning of Alberto Giacometti’s 1932 sculpture Caresse/Malgré les mains. By taking the reflection of counter-transference manifestations as an approach on which a specific psychoanalytical contribution can be based, I develop my hypothesis that Giacometti—by choosing the form of a reversible figure—expressed an impasse he felt. By using this form he was able to then overcome his mental block. I then outline a few steps which in my view might have been decisive on Giacometti’s way to the sculptures from 1947–1952 that made him famous.
