Constantin BrancusiRumænien, 1876–1957Petre Stănescu
Må man se det?
Ukendt: museet holder tæt
National Museum of Art of Romania
Bukarest, Rumænien
Ejeren er kendt. Om det er udstillet i dag, siger museet ikke, og at gætte har vi ikke lært.
- Uændret siden
- 27. sep. 2026
- Kilde
- Museets egne samlingsdata
About the sculpture
In the museum's own words — the original
Sculptura a fost realizata avand ca model pe unul din fratii defunctului si o fotografie a acestuia. tinand cont de faptul ca lucrarea avea sa fie instalata pe un soclu inalt, gatul este usor asimetric si intregul bust usor alungit pentru a da senzatia de perspectiva.
National Museum of Art of Romania
Oplysninger
Kilder
- National Museum of Art of Romania: the museum's own open data · hentet for 6 dage siden
- Billede: National Museum of Art of Romania — CC BY-SA 4.0
Imens i livet hos Constantin Brancusi
Hele livetJune 1905
The École des Beaux-Arts: Mercié’s class and a scholarship
In June 1905 Brâncuși passes the entrance examination for the École des Beaux-Arts in Paris and enters the sculpture class of Antonin Mercié. From 1905 to 1908 he receives an annual scholarship from the Romanian Ministry of Education.
1906
His first Paris salons
In 1906 Brâncuși exhibits for the first time at the salon of the Société Nationale des Beaux-Arts and at the Salon d’Automne; his works include the plaster sculptures “L’Enfant” and “L’Orgueil”. At the following salon of the Société Nationale he shows “Le Supplice”, a portrait of Nicolae Dărăscu and two heads of children.
1907
The turn to direct carving in stone
In 1907 Brâncuși moves away from modelling in clay, the method used to prepare sculpture for casting, and begins carving stone directly, adding wood soon afterward; he continues to make plaster and bronze versions as well. The methods he learned in Romania remain present in his handling of tools and his sustained contact with the material.
March 1907
A brief stint with Rodin, and the break
In March 1907 Brâncuși begins working as an assistant to Auguste Rodin but stays in his studio for only a few weeks (other accounts say two months): he prefers to find his own path and sums up the decision with the words “Nothing grows in the shade of large trees.”
from 1908
His Paris circle: Léger, Duchamp, Rousseau, Apollinaire
From 1908 Brâncuși spends time with artists and writers working in Paris, including Amedeo Modigliani, Fernand Léger, Marcel Duchamp, Henri Rousseau, Guillaume Apollinaire, Alexander Archipenko and Henri Matisse. He also stays in touch with Romanians living in France — George Enescu, Theodor Pallady, Benjamin Fondane, Panait Istrati — speaks Romanian in his studio and welcomes visitors from Romania.
1909
Meeting Modigliani
In 1909 the collector Paul Alexandre introduces Brâncuși to Amedeo Modigliani; the two become friends, and the Italian draws his portrait in black and red pencil that year. From 1909 to 1914 Modigliani works chiefly in sculpture, and his elongated limestone heads, with simplified forms and polished surfaces, are related to Brâncuși’s sculpture.
