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1876-1957. Constantin Brancusi. T H E E N D L E S S C O L U M N. Tyler Conlan Survey of Art History 7 th Hour. Historical Context. Middle of “Modern Art” period from roughly 1880s to 1960s-70s Post-Impressionist, leading towards more abstract art
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1876-1957 Constantin Brancusi T H E E N D L E S S C O L U M N Tyler Conlan Survey of Art History 7th Hour
Historical Context • Middle of “Modern Art” period from roughly 1880s to 1960s-70s • Post-Impressionist, leading towards more abstract art • Contemporaries include: August Rodin, Antonin Mercié • Student of Rodin, he rejected Rodin’s realism for abstract functionalism, but paralleled Rodin’s independence The Thinker
Brancusi the Artist • Although considered abstract/modern artist, considered himself a “pure realist” • Focused on function as it relates to form, not merely form • “The people who call my work 'abstract' are imbeciles; what they call 'abstract' is in fact the purest realism, the reality of which is not represented by external form but by the idea behind it, the essence of the work” (see notes for citations) The Kiss
“When we are no longer children, we are already dead.” • Sold for $27,000,000, highest for sculpture • Highly simplistic • Focuses on capturing movement and feeling behind the work • Reducing bird in flight down to most basic form to emphasize the essence of form in motion • Couldn’t bring it into country without paying duties Bird in Space
The Kiss • Made many versions of this piece • his first major work (1908) • Combination of two forms to one, symbolizing the love behind The Kiss • Essence of meaning (1916)
The Flying Turtle • One of several animal sculptures • Echoes modernists of various mediums doing animal themes • Highly simplistic, captures simple geometry of complex shape
Sleeping Muse and Mademoiselle Pogany • Both works are of female forms • Similar structural elements, very rounded • Basic geometric shapes • Essence of sculpture • Curvilinear lines
“We always want to understand something. But there is nothing to understand. Everything that you can contemplate here, in the atelier, only has one merit: that you are living it. What is real is not the external form, but the essence of things... it is impossible for anyone to express anything essentially real by imitating its exterior surface.”