"A good sculptor must have at his fingertips all the mathematical laws of the science of geometry. "
(Antoine Bourdelle, French sculptor of the Belle Époque and predecessor of the monumental sculpture of the twentieth century.)
Contemplating the work of Brancusi's appointment makes sense Bourdelle. his sculptures to understand we are at Paris in 1904, the Romanian sculptor lived until his death in 1957, is there where he met Auguste Rodin and Amadeo Modigliani, with whom he maintained a deep friendship for him Rodin was the starting point of contemporary sculpture.
early works show the influence of Rodin and the Impressionists, but from 1907-1908 evolves into a very personal style. simplifying his figures and tending toward abstraction as in this magnificent work:
"The Kiss" , -for me a masterpiece.
Among his most famous works include: "Table of Silence", "Column of the Infinite" and "The Gate of the Kiss" sculptor who can considered a precursor of modern art in his sculpture the geometry eventually becomes the protagonist, the search-light in two ways: physical and spiritual purpose of their creation. So in "Mademoiselle Pogany" , 1919 found in Tate Gallery (London) can see the influence of Eastern thought you knew Throughout the book the eleventh century Tibetan monk, Milarepa. But surely " Endless Column" is my favorite: a huge metal sculpture of polished 98 m., a wooden mast consists of a series of diamond images.
To understand this work transcribe the interpretation Friedrich Teja Bach done the same. (Director of Department of Art History Institute in Vienna. He was curator of the retrospective exhibition of Brancusi in Paris and Philadelphia (1995) and author of Constantin Brancusi. Metamorphosen Plastiche Form (1987), Brancusi . PhotoReflexion (1991 ) and Constantin Brancusi 1876-1957 (1995). ..."¿ What does the concept of "infinity", which is the column name? At first it seems obvious here conceive of infinity as a potentially unlimited replay, serial, rhythmic elements. The infinity would be guaranteed by the fact that the number of the diamonds should serve as a guide the viewer to continue the process begun cumulative real, ad infinitum. But this interpretation of infinity is, in relation to the work of Brancusi, problematic. Well, it is crucial the impression of a totality, in a limited way, the artist himself once claimed the "internal proportionality" of his sculpture, that is, as the basic element, and the relationship between the maximum diameter column height. The impression of infinity implies the proportional harmony. This feeling of harmony results from the limitation that keeps the form, so to speak, in a state of uncertainty between a column tied to the land and a simple plastic line.
with the column of 1918 is not yet really achieved that quality of infinity. The work is the starting point of a series: in 1920, carved from a tree in the garden of Edward Steichen in Voulangis an endless column of over seven meters high, in the course of the twenties came three more columns wood. The great plaster Endless Column (1930-1931) represents a quantum leap in the scale and also in terms of rhythmic conception. But the culmination of its columns is the Endless Column cast iron, nearly thirty feet high, which was erected in 1937-1938 in Targu Jiu (Romania) as part of a monumental. Only in this work obtained Brancusi make the desired quality plastically infinity. His first endless columns "tend" as pulsating rhythm, to infinity, the Endless Column in Târgu Jiu "made" the requirement that raises its name from the confluence of high real, rhythmic quality and proportionality.
The Endless Column, 1918 is the most radical in the production of Brancusi, and even, if we make abstraction of the radical completely different Duchamp-the most radical work of classical contemporary sculpture. This is a radical wanted by the artist, but also imposed in a way, from the outside. Even in 1922, during the sale, Henri-Pierre Roché writes John Quinn: "Brancusi said that the column does not need pedestal, until, in support of a particular object, definitely find its place. The pedestal on your surroundings. The weight of the columns is about 70 kilos, the stone pedestal hard (now, however, not necessary) would weigh about 200 kilos. " Upright on a stone pedestal "as support for a particular object, the artistic nature of the column is still precarious, still tied to the conventions of visual representation and presentation of sculpture, and is not a radical work that we assume today. Only be reached when it was, somehow, forgotten by the artist.
The world view that accompanies Endless Column of Brancusi in thinking is also associated with a peacemaker assimilation of tradition. The work contributed to the legitimization Brancusi's Endless Column is received with enthusiasm by the American minimalist art as one of the fundamental works contemporary art in this context begins her second life ."...
Friedrich Teja Bach
Endless Column (1938)
Description: Metal, iron and steel.
98 m. Location: Urbana . Targu Jiu.
Romania Author: Constantin Brancusi
http://es.wikipedia.org/wiki/Constantin_Br% C3
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http://sagopo.blogspot.com/2011/01/constantin-brancusi.html
More to understand The meaning of the work of Brancusi: a column that, "to grow, hold the bow in the sky"
Mircea Eliade, "Brancusi and Mythology" in Magical Flight , Madrid, Siruela editions, pp. 159-167.
This entry takes the theme of the influence of Mathematics in Art - that originated this blog topic, "with it participated in the edition 2.1 of Math Carnival. You can visit the web carnival, and Tito the blog host Eliatron Dixit. Jose Antonio Prados
Thanks for being the creator of this carnival and the compilation effort of all participating entries in this edition.
