Word: brancusi
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...main art trends of the 20th century when he decided that "the Greek [style] is the great error, beautiful though it is," and plunged off to Tahiti to capture the expressive power of primitive art. In the hands of such moderns as Painters Picasso, Matisse, Modigliani and Sculptors Brancusi, Henry Moore and Alberto Giacometti, this source of inspiration has not only produced new art; it has also caused primitive art itself to be reassessed. The rise of primitive works from artifact to art is currently being demonstrated by the first showing of the Baltimore Museum of Art's handsome...
...depict Adam and Eve (see cut) Brancusi returned not to full-bloom Renaissance goddesses but to woman as a primitive symbol of fertility, and Adam as the product of his primitive tools, axed out of wood with a neck suggesting both a tree trunk and a wine press. In a narrow smoothly polished pebble, Brancusi sees the genesis of the fish form; expanded in his streamlined Fish, done in blue-grey marble, it becomes the prototype of all fish, hovering in space as if water were freshly washing past...
...like a canny peasant, Brancusi has always refused to be drawn too far into explaining his own work. He likes to say When one ceases to be a child, one is already dead." His advice to viewers is equally simple: "Don't look for obscure formulas or mystery. It is pure joy that I am giving you. Look until...
...most fruitful years of study under Abstract Sculptor Constantin Brancusi in Paris. A consummate technician, Noguchi has variously turned his hand to fashionable portrait busts, abstract stone sculptures cut with a diamond saw, furniture, paper lanterns and stage sets. Since 1950 he has spent half of his time in Japan (where he married Screen Star Yoshiko Yamaguchi), concentrated on deliberately crude ceramic sculptures molded from the native earth, and modeled partly on prehistoric Japanese idols. The ceramics in last week's show were mainly semi-abstractions of figures and faces. They looked lumpish and exuberant at once-like...
...Africans' extraordinary freedom in making shapes was what appealed most to the modern artists who first put African sculpture on the map. Painters Braque and Picasso and Sculptors Brancusi and Epstein were inspired to savage experimentation by African art. But moderns, for the most part, have imitated the forms of African sculpture, divorced from the spirit inside them. By civilized standards, that spirit is nightmarishly superstitious. Harmony and order-as much a part of the classical art heritage as realism-are sacrificed to demoniac fervor. But African sculpture has an intensity greater than any that modern...