Constantin Brancusi è stato uno scultore romeno nato esattamente 135 anni fa a Pestisani in Romania. Oggi Google trasforma il proprio logo per dedicarlo all'artista che eseguì sculture per il giardino pubblico di Trgu Jiu, forse le più famose lasciate al proprio paese. Brancusi strinse amicizia con Modigliani, Satie e Duchamp. Espresse attraverso le sue sculture, la vera dimensione dell'essere umano e della società, nell'abbandono della modernità e nel ritorno ad uno stile di vita primitivo (primitivismo).
Dopo la prima guerra mondiale inserì nelle sue opere l'astrazione, ricercando la forma-tipo, la forma genitrice. Brancusi morì a Parigi nel 1957. Le sue opere sono esposte al Museum of Art di Filadelfia, al Guggenheim e al Modern Artdi New York, all'Atelier Brâncuşi di Parigi, al Museul de Arta Craiova, the Hirshhorn Museum in Washington at the Centre Pompidou in Paris at the Pasadena Museum of Art, the Peggy Guggenheim Collection in Venice, the Art Institute of Chicago and the National Gallery of Art in Washington.
Constantin Brancusi (Peştişani, February 19, 1876 - Paris, March 16, 1957) was a sculptor from Romania.
After studying sculpture at the Bucharest works in Vienna and Monaco (1899-1904) and moved then to Paris, where he studies Antonin goods and Rodin. In 1908 he befriended Modigliani, Duchamp and Satie, in 1913 he exhibited three sculptures in the exhibition dell'Armony Show in New York. From 1914 to 1918 he created a series of wood sculptures that testify his interest in primitivism.
After World War I emphasized in his works a taste for abstraction, in search of the shape-type, the parent form. In 1937 he returned to Romania, where he produced sculptures for the public garden of Targu Jiu, and was in India, where he designed a temple of meditation to the Maharaja of Indore. Among his students can include Isamu Noguchi.
The Park Targu Jiu.
The sculptures for the public garden of Targu Jiu, perhaps the most important work that Constantin Brâncuşi left to their own country, present some interesting peculiarities:
* The complex is built along a path that starts from the bank of the river Jiu, where the complex consists of a table and seats known as The Silence of the table until you reach the opposite end of the park, near the entry main, is the holder of the kiss, finely and richly carved,
* The road in question is aligned with the Orthodox Church of Saints Peter and Paul, the main town and runs along the 45th parallel;
* Approximately two kilometers beyond, on the same axis and outside the home now, there is another park, in fact, a large lawn area with walking trails, low bushes and benches, where stands the Column of the infinite representation di quella tendenza all'infinito tipica dello scultore. Dai primi del 2003 l'immagine della Colonna dell'infinito è stata inserita al centro dello stemma di Târgu Jiu.
Brâncuşi aveva cominciato a vendere supporti in legno da unire a sculture in marmo o bronzo. La Cariatide del 1914 ad esempio fu venduta nel 1916 a John Quinn – uno dei mecenati di Brâncuşi – come scultura a sé stante e come tale fu presentata alla Sculptor's Gallery nel 1922.
In due occasioni documentate si ha l'opportunità di osservare il modo che questo artista ha di procedere nell'elaborazione dei Gruppi mobili: nel 1913 scolpisce in legno il Primo passo che distruggerà dopo l'esposizione alla Photo Secession Gallery New York (1914), keeping only his head with the title of first cry and then linking it to various works. And in 1921 "without knowing how" puts Adam in Eva. Eva had been carved in 1920 and existed as an autonomous sculpture, while Adam was previously paired with wooden bowl.
You can also safely say that the combination between sculpture and pedestal contains a large element of chance due to his friendship with Marcel Duchamp and the Dadaists and then to the rooms. The pedestals upon which rest the majority of Brancusi's birds are composed of forms stacked or piled one upon the other, the separation of these forms: wood cut, cross-shaped stones, marbles cylindrical, clearly stated that the foundation on which rise the sculptures are contingent, detachable and capable of being arranged differently. In fact, the bases do not occur as a mere support, it is an element in its own right that the artist considers the work itself. In some exposures such as that of 1926 at the Brummer Gallery in New York, the Romanian sculptor sculpture exposes the bases with no overlap.
Brâncuşi sensed the possibility of developing a strong force for creating a bond between opposites: matter left rough and polished, the organic curves and geometric structures. It is as if the artist from the bottom trying to get rid of a material condition, in a spirit that refers to Eastern thought.
Works.
* The Kiss (1907-1908) * Portrait of Baroness
RF (1909)
* Sleeping Muse (1909-1910) *
Maiastra (1910-1912)
A * muse (1912) *
Maiastra (1912)
* Mademoiselle Pogany (1913) * Princess
X (1915-1916)
* The Kiss (1916)
* The Witch (1916-1924) *
Shy (1917)
* The child in the world (1917) * Musa
Sleeping III (1917-1918) *
Endless Column (1918)
* Sleeping Muse (1919-1920)
* The golden bird (1919-1920)
* The beginning of the world (1920)
Column * senza fine (1920 circa)
* Adamo (1921)
* Adamo ed Eva (1921)
* Socrate (1921-1922)
* Pesce (1922)
* Nuovo nato (1923 circa)
* Il gallo (1924)
* Pesce (1924)
* Uccello nello spazio (1927)
* Mademoiselle Pogany III (1931)
* Uccello nello spazio (1931-1936)
* Uccello nello spazio (1932-1940)
* Il gallo (1935)
* Colonna senza fine (1937)
* La porta del bacio (1937-1938)
* Mensa del silenzio (1937-1938)
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