Modernist Sculpture and Brâncuși’s Pioneering Role in Its Development

Constantin Brâncuși: A Trailblazer of Modern Sculpture

Constantin Brâncuși, one of the most influential artists of the 20th century, is widely regarded as the father of modern sculpture. He was born today, on the 19th of February 1876. He is known for his innovative approach, marked by simplicity, abstraction, and exploring the innate essence of the form. Born in Romania, Brâncuși’s influence on abstract art took him from rural Romania to the vibrant artistic scene of Paris, where he became a central figure in the modernist movement.

Modernist Sculpture and Brâncuși

Born in the village of Hobița, Oltenia, Romania, Constantin Brâncuși was inspired by Romanian folklore and rural life. The area was known for geometric woodcarving; an influence which can be seen in his later works, including the 1918 Endless Columns. Brâncuși’s influence on abstract art can be traced to his studies at the Craiova School of Arts and the Bucharest School of Fine Arts. Here, under the guidance of Dimitrie D. Gerota, he distinguished himself as the star pupil, when he built the écorché, which was displayed at the Romanian Athenaeum in 1903.

In 1903, he moved to Paris via Munich. To him, the city was at the forefront of the modernist movement. It was in Paris that Brâncuși encountered the works of the avant-garde artists who would shape his future artistic direction.

Brâncuși in Paris: A Modernist Revolution

Initially, Constantin Brâncuși worked under the tutelage of Antonin Mercié and Auguste Rodin. There he gained exposure to the cutting-edge artistic currents. It was during this period that Constantin Brâncuși sculptures developed an abstraction of form that distanced itself from realism and embraced the pure essence of the presented subject.

The Exploration of Form: Brâncuși’s Iconic Works

The Kiss (1907-08) was a premier modernist sculpture and Brâncuși received international recognition. It was an unconventional stone sculpture, depicting two figures, entwined in an intimate embrace. Rather than focusing on realistic anatomical details, the sculpture captured the lovers’ connection. The following pieces distilled complex subjects into elemental shapes.

Another one of Constantin Brâncuși sculptures, titled Princess X (1915–1916) scandalised the Société des Artistes Indépendants during its viewing. It was because the phallic-shaped polished bronze sculpture was intended to be Princess Marie Bonaparte. The sculpture is thought to represent her lifelong obsession with the penis and to achieve vaginal orgasm. 

However, it was his 1910 sculpture The Sleeping Muse that truly solidified his reputation as an innovator. Baroness Renée-Irana Frachon served as the model for the marble carving. Since then, multiple renditions (often with bronze) have been made. With markings to depict features like hair, nose, lips, and closed eyes, it is the head of an incorporeal model. The sculpture has “an abstract, curvilinear quality and a smooth contour that create an impression of elegance,” according to Laurie Adams in A History of Western Art. 

Bird in Space (1923) was one of his popular modernist sculpture and Brâncuși established the movement of a bird rather than its physical features. This reductive sculpture is made of smooth, elongated forms, reminiscent of a bird’s flight. For 20 years, Brâncuși’s Bird in Space series saw 14 renditions in bronze and marble. The slanted oval plane is all that remains of the head and beak. The reflection enhanced the sense of movement and lightness, emphasizing the sculpture’s connection to the air and space surrounding it.

Brâncuși’s influence on abstract art extended to photography as well. Before he died in 1957, he left over 1200 photographs. These photographs chronicled his sculptures, studios, and his ‘Parisian’ life in innovative ways. The camera angles helped the viewer to engage with the objects in a new light. Brâncuși’s photography also reflected his interest in the relationship between light and shadow.

Image – Constantin Brâncuși’s Princess X (1915-16) Courtesy – The New Yorker