Literatura académica sobre el tema "Brancusi, Constantin, – 1876-1957"

Gheorghe Listarhov nació en Rumania. Pintor de íconos, dentro de la tradición estética de su país. Vivió en la dictadura de Nicolae Ceaușescu (1967-1989). No solamente nos habla aquí de los íconos, sino también de su relación con el arte moderno y contemporáneo, desde su muy personal perspectiva y examen sensible. Historia, sensibilidad, arte, estética consideradas por G. L., desde una visión histórica y crítica, relacionando el pasado con el presente, desde los íconos y los artistas modernos de Rumania, como el escultor Constantín Brancusi (1876-1957), manifiesta toda la relevancia del arte y de la historia en la contemporaneidad.

Par l’étude de la question du support dans la sculpture de Constantin Brancusi (1876 1957), sculpteur moderne qui a révolutionné l’art par ses innovations, nous tentons de définir le cadre conceptuel du support et son statut, par rapport aux diverses expérimentations de l’artiste. L’analyse sera développée afin de déterminer en quoi le support de Brancusi, par rapport aux innovations qui le caractérisent, se démarque du modèle traditionnel. Entre 1907 et 1937, l’artiste entreprend des expérimentations sur le support : d’abord, il l’élimine, ensuite, il l’intègre et finalement, il lui donne en quelque sorte le statut d’œuvre. C’est par une analyse détaillée de trois œuvres : Le Baiser, Maïastra et L’Ensemble monumental de Târgu-Jiu que nous étudierons l’évolution du support. Cela déterminera si les conventions sur la présentation sculpturale seront brisées.
Par l’étude de la question du support dans la sculpture de Constantin Brancusi (1876 1957), sculpteur moderne qui a révolutionné l’art par ses innovations, nous tentons de définir le cadre conceptuel du support et son statut, par rapport aux diverses expérimentations de l’artiste. L’analyse sera développée afin de déterminer en quoi le support de Brancusi, par rapport aux innovations qui le caractérisent, se démarque du modèle traditionnel. Entre 1907 et 1937, l’artiste entreprend des expérimentations sur le support : d’abord, il l’élimine, ensuite, il l’intègre et finalement, il lui donne en quelque sorte le statut d’œuvre. C’est par une analyse détaillée de trois œuvres : Le Baiser, Maïastra et L’Ensemble monumental de Târgu-Jiu que nous étudierons l’évolution du support. Cela déterminera si les conventions sur la présentation sculpturale seront brisées.

Constantin brancusi, le plus grand sculpteur des temps modernes, est ne au centre meme de l'espace carpato-danubien : cet environnement, depositaire des plus anciennes civilisations d'europe, predispose tout naturellement a une intelligence vivante des valeurs de la conscience archaique. Celle-ci, toujours vehiculee par des formes originelles, primaires, est indifferente au temps, se maintient contemporaine de sa propre eternite. Chaque fois qu'un genie fait que la structure archaique emerge a travers l'oeuvre qui la ressuscite et la revivifie, cette oeuvre elle-meme devient contemporaine des origines. Brancusi devait, justement, retrouver la meme monumentalite, la meme vocation de duree, la meme purete irradiante des formes premieres qui caracterisent aussi la sculpture et l'architecture sacrees de l'egypte ancienne. Egyptien dans la forme, hindou dans sa recherche spirituelle (son livre de chevet sera le jetsun kahbum, contenant l'enseignement du moine tibetain du onzieme siecle, milarepa), brancusi laissera aussi transparaitre dans son art toute l'ampleur de son inspiration celtique. Cette etude, s'appuyant sur des documents reveles souvent pour la premiere fois, se propose d'analyser et d'eclairer, dans cette multiple perspective, le cheminement spirituel de l'oeuvre de brancusi, consideree dans ses aspects formel, mystique et mathematique
Constantin brancusi, the greatest sculptor of modern times, was born at the very centre of the landspace between the carpathian mountains and the danube. A repository of europe's most ancient civilisations, this is an environment particularly conducive to vivid awareness of the values of the archaic consciousness, perpetuated through primary, primeval forms, unmodified by time, remaining contemporaneous with its own eternity. Each time a genius brings out the archaic structure in a work that resuscitates and revitalises it, the work itself becomes contemporaneous with its origins. Brancusi would recreate the monumentality, the same urge for lastigness, the same radiant purity of primary forms that characterised the sacred sculpture and architecture of ancient egypt. Egyptian in its form, hinu its spiritual quest (the sculptor's favorite reading was the jetsun kahbum, with its teachings of the elventh century tibetan monk milarepa), brancusi's art also exudes the full force of its celtic inspiration. This study, based largely on documents which are revealed here for the first time, seeks to analyse and clarify these various aspects of the spiritual approach in brancusi's work, considered from the formal, mystical and mathematical angles

L'œuvre et la personnalité de Constantin Brancusi ont constitué l'objet d'étude de nombreux chercheurs qui, dans leur analyse, se sont appuyés sur des documents conservés à la documentation du musée national d'art moderne. Souvent cité, le legs de Brancusi au musée n'a jamais été présenté et analysé dans son ensemble à cause du destin particulier des archives trouvées dans l'atelier. L'approche analytique à ce legs nous a ouvert d'autres voies vers des archives publiques ou privées afin de comprendre, à travers son milieu, la personnalité de "l'inventeur de la sculpture moderne". Une présentation intégrale du contenu de la bibliothèque nous a permis de pénétrer dans l'ambiance culturelle de l'artiste, alors que la simple reproduction de la liste des disques nous a offert un aperçu de ses gouts en matière de musique. Le corpus de correspondance entre Brancusi et Duchamp a constitué le point de départ d'une cherche plus poussée pour mettre en valeur une amitié rappelée souvent par les spécialistes du premier, à peine évoquée par les biographes du deuxième. Le dossier du procès de l'oiseau (1926-28), comprenant la correspondance avec ses deux avocats et un album de coupures de presse rangées en ordre chronologique par l'artiste-même est l'un des plus importants. Chaque dossier d'archives, même si incomplet, marque des épisodes importants dans la vie et création du sculpteur. Les interviews avec des critiques d'art, artistes ou d'autres personnalités culturelles qui l'ont rencontré constituent un important support documentaire pour refaire l'ambiance, renommée par sa singularité, de l'atelier transforme en musée, installé par l'artiste lui-même
Constantin Brancusi's work and personality have been the object of several art historians' research. Many of them have based their analysis upon a number of documents which are kept at the documentation center of the national museum of modern art. Brancusi's bequest is often quoted. However, it has never been analysed and revealed in its entirely because of the strange ill-fortune these archives - which were found in the artist's studio - have met. Our present analysis is based upon Brancusi's bequest and includes research led in other public and private archives. Its aim is to provide an understanding of the cultural milieu and the personality of "the inventor of modern sculpture". The discovery of his library has allowed us to penetrate the artist's cultural atmosphere and his collection of records have given us an idea of his taste in music. The correspondence between Brancusi and marcel duchamp has been the starting point of more subtle research to understand the friendship between the two artists. This relationship has, so far, been reported by the specialists of Brancusi while only being evoked by those of duchamp. The files concerning the bird's trial (1926-28) contain Brancusi's correspondence with lawyers and a book of clippings put together by the artist. These count amidst the most interesting files. Overall, each file - even if it is more or less complete - unravelsseveral episodes of the sculptor's life and creation. Interviews with art historians, artists and cultural personalities who knew him, were another important documentary source in order to help restore the famous atmosphere of Brancusi's studio which the artist had organised as a museum display

The work produced by Marcel Duchamp revolutionized and redirected the path of the Visual Arts, allowing vast and numerous developments for artists and their creations. Under his influence, several changes came quickly and sequentially in many avant-garde movements and their transgressive and libertarian effects can be noticed in the artistic achievements over the past century and in contemporary times. This text intends to contribute to the quest for understanding a little better the relationship between Duchamp’s readymades and their influx, their parallel and consequences in the universe of sculpture. On the basis of information provided by the author and leading experts, covering the primary context for the second half of the 20th century, this research aims to address some unique aspects of the “duchampian” object as against or/in favor of sculpture. Although we have a wide perception of the groundbreaking and insurgent thoughts of Marcel Duchamp, his directions, proposals and intentions, it is relevant the need of an analysis of the readymade under the sculptural bias, as a three-dimensional conceptual object offered as opposing a three-dimensional “retinal” object and its impact as beneficial to Sculpture and, therefore, to Art

Among all the materials used for sculpture, it can be said that wood is one of the most peculiar. The growth of a tree is based on the formation of a sequence of layers, and its fibrous forms offer authentic potentialities to the three-dimensional form. In this study, a selection of works is assumed as the investigation basis in reference to methods and techniques of work, and to the species of tree selected by the sculptor. In this way, a diversity of sculptural results allowed by the trunk and its elements is emphasized. It is considered that the natural shape of the tree is stimulating for sculpture, just as its cylindrical shape is influential for new shapes. Modification of the tree elements by natural causes changes the physical and chemical state, allowing new sculptural approaches. The particular characteristics of the trunk are worked and transformed as new volumetric forms and allow a different interpretation of the materiality in the works

The spiritual dimention in art, in the European context, has been, for centuries, almost exclusively related with religion. However, in the modernity, with the loss of prominence of religion, and with the divorce of art and the Church, that dimention has became accessible to be freely and autonomously explored by art, and in this specific case, by sculpture. If, in general, from the point of view of modernism, it is known that art has lost its notion of transcendence, in accordance with a destructive demand of the artistic tradition, concentrating, instead, on exploiring and evaluating its own possibilities, however, it is also possible to notice the presence of a strong spiritual dimension in the life and work of many modern and contemporary artists. This dissertation is the result of a research of this spiritual dimention in the 20th and 21st century sculpture, through an analysis of the life, work and/or cultural circumstances of nineteen artists, namely Constantin Brancusi (1876-1957), Marcel Duchamp (1887-1968), Jean Arp (1886-1966), Jacob Epstein (1880-1959), Alberto Giacometti (1901-1966), Henry Moore (1898-1986), Barbara Hepworth (1913-1975), Isamu Noguchi (1904-1988), Alberto Carneiro (1937-2017), Louise Nevelson (1899-1988), Lourdes Castro (1930), Germaine Richier (1902-1959), Barnett Newman (1905-1970), Anselm Kiefer (1945), Joseph Beuys (1921-1986), Richard Long (1945), Rui Chafes (1966), Anish Kapoor (1954) and Diogo Pimentão (1973)