Referat Constantin Brancusi In English

Mai jos puteti citi fragmente din Referat Constantin Brancusi In English si de asemenea puteti face Download Referat Constantin brancusi in english

Citeste fragmente din Referat Constantin Brancusi In English

Constantin Brancusi Born in Rumania, Constantin Brancusi first studied sculpture at the School of Arts and Crafts in Craiova (1894–98) and the National School of Fine Arts in Bucharest (1898–1902). In 1904 he left Romania permanently, traveling through Budapest, Vienna, Munich, Zurich, and Basel before settling in Paris. There, he continued his training at the École des Beaux-Arts (1905–07), and his work of the period attracted the attention of the French sculptor Auguste Rodin. About 1907 Brancusi began to work by direct carving as a means of distancing himself from Rodin s style. In Paris, Brancusi associated with many artists of the day, including Henri Rousseau, Henri Matisse, Fernand Léger, Amedeo Modigliani, and Marcel Duchamp. Brancusi showed five of his sculptures in the 1913 Armory Show in New York, and continued to exhibit widely throughout his life. From the 1920s to the 1940s Brancusi was preoccupied by the theme of a bird in flight. He concentrated not on the physical attributes of the bird but on its movement. In "Bird in Space" wings and feathers are eliminated, the swell of the body is elongated, and the head and beak are reduced to a slanted oval plane. Balanced on a slender conical footing, the figure s upward thrust is unfettered. Brancusi s inspired abstraction realizes his stated intent to capture "the essence of flight." This particular conception of "Bird in Space" is the first in a series of seven sculptures carved from marble and nine cast in bronze, all of which were painstakingly smoothed and polished. "Bird in Space" of 1923 was initially collected by Brancusi s great American patron John Quinn, who first saw the work in progress in the sculptor s Paris studio. Upon its completion in December 1923, Quinn had it shipped to New York, where nineteen years later, in 1942, it was acquired by Florene M. Schoenborn and her husband, Samuel A. Marx. Constantin Brancusi. Fish. 1930. Gray marble, 21 x 71 x 5 1/2" (53.3 x 180.3 x 14 cm), on three-part pedestal of marble 5 1/8" (13 cm) high, and two limestone cylinders 13" (33 cm) high and 11" (27.9 cm) high x 32 1/8" (81.5 cm) diam. at widest point. Acquired through the Lillie P. Bliss Bequest. © 2002 Artists Rights Society (ARS), New York/ADAGP, Paris Less an image of a fish than an embodiment of the idea of one, Fish conjures the animal s liquid course by simplifying details like fin and scale, tail and head, into smooth streamline. ("Simplicity," Brancusi believed, "is not an end in art, but we usually arrive at simplicity as we approach the true sense of things.") The material too contributes: a blue-gray marble veined with flecks of flowing white, its surface intimates both movement through water and moving water itself. Brancusi was fascinated by animals, and believed in the primacy of animal consciousness. In reducing animals to elemental shapes, he felt he was approaching the essence of nature. Also, like a number of European artists of his period, he was excited by art from outside the classical tradition so influential in Western aesthetics. The art of Africa, Native America, and the Pacific, and also the art of prehistory (including Cycladic sculpture, a particular influence on Brancusi), took imaginative liberties with human and animal bodies, alternately exaggerating, attenuating, and eliminating their features. These examples liberated Brancusi and others in their treatment of form. By the time he made Fish, in fact, Brancusi seems almost to have left form behind altogether, for something more incorporeal: what he described as the fish s "speed, its floating, flashing body seen through the water . . . the flash of its spirit." 쥁`