Constantin BRANCUSI (1876-1957)
1908 Le Baiser
2004 SOLD for $ 9M by Sotheby's
In 1907 the domination of classicism and of the Louvre over the arts faced the influence of the exotic and archaic cultures. Picasso finishes Les Demoiselles d'Avignon without however daring to exhibit it, and Matisse paints the Blue Nude influenced by Biskra.
Brancusi is 31 years old. He enters Rodin's studio, which he leaves after one month saying : "Il ne pousse rien à l'ombre des grands arbres" (It does not grow anything in the shade of large trees). He is preparing Le Baiser, which is a complete antithesis to Rodin.
In opposition with the plaster that the sculptors transferred in marble and bronze, Brancusi opts for the direct carving of stone. The rough surface is opposed to the classic polishing which aimed to evoke the velvety texture of the skin. The simplified geometry of the forms replaces the realism of the bodies. In the same year, Derain takes a similar approach with his Crouching Figure carved from a block of limestone, but he would not persevere.
The Kiss is Brancusi's first work to give a major role to the raw material. It was preceded by the Polynesian sculptures of Gauguin, but it anticipates the dazzling intuition of Malevich for whom a painted work is nothing more than pigments applied to a canvas.
The simplification of The Kiss is a great achievement. The cube evokes the original block of stone. The two characters face to face are little differentiated but no one doubts viewing the embrace of a man and a woman. The heads are so close to each other that the viewer reconstructs in the conjunction of their profiles a complete face with a Cyclopean eye, anticipating the dual perspectives of Cubist painting.
During his long career, Brancusi made about 40 variations of the Kiss. One of the very first, 32.4 cm high, carved in limestone circa 1908, was sold for $ 9M by Sotheby's on November 4, 2004, lot 8.
Brancusi is 31 years old. He enters Rodin's studio, which he leaves after one month saying : "Il ne pousse rien à l'ombre des grands arbres" (It does not grow anything in the shade of large trees). He is preparing Le Baiser, which is a complete antithesis to Rodin.
In opposition with the plaster that the sculptors transferred in marble and bronze, Brancusi opts for the direct carving of stone. The rough surface is opposed to the classic polishing which aimed to evoke the velvety texture of the skin. The simplified geometry of the forms replaces the realism of the bodies. In the same year, Derain takes a similar approach with his Crouching Figure carved from a block of limestone, but he would not persevere.
The Kiss is Brancusi's first work to give a major role to the raw material. It was preceded by the Polynesian sculptures of Gauguin, but it anticipates the dazzling intuition of Malevich for whom a painted work is nothing more than pigments applied to a canvas.
The simplification of The Kiss is a great achievement. The cube evokes the original block of stone. The two characters face to face are little differentiated but no one doubts viewing the embrace of a man and a woman. The heads are so close to each other that the viewer reconstructs in the conjunction of their profiles a complete face with a Cyclopean eye, anticipating the dual perspectives of Cubist painting.
During his long career, Brancusi made about 40 variations of the Kiss. One of the very first, 32.4 cm high, carved in limestone circa 1908, was sold for $ 9M by Sotheby's on November 4, 2004, lot 8.
La Muse Endormie
1
1910 bronze
2017 SOLD for $ 57M by Christie's
The art of Brancusi is too fundamental, too seminal and too personal to be associated with any artistic movement. Very gifted in his hands since his childhood, this son of poor Carpathian peasants arrived in Paris on foot in 1904. The period is exceptional : the artistic Parisian bubbling opens the way to his creativity.
He learns with Rodin that the human figure can be reduced to a single element. A head lying on a ground symbolizes the serenity. He appreciates from Gauguin that Oceanic tribal art can influence the modern universal art through its extreme simplification of forms. The skilled bearded strongman chooses the direct cut contrary to the practice of his time. He will influence Modigliani.
Brancusi began in 1907 to conceive his series of masterpieces. In Le Baiser he is the first artist who suggests a development of Cubism in sculpture.
In 1909 he creates the prototype of La Muse endormie in white marble. The lying head is an egg in which the facial features and the hair are only lightly incised. The nape of the neck is used as a support. Despite the stylization it is unquestionably a portrait of his model the baronne Frachon. The artist succeeded in the impossible synthesis between geometry and portraiture.
In 1910 Brancusi produces three plasters and six bronzes from his first Muse endormie. The bronzes are cast by Valsuani but the patina different in each of the bronzes is executed by the artist himself with a painstaking care.
On May 15 in New York, Christie's sells one of the six bronzes, 27 cm long, lot 32 A estimated $ 20M. This specimen has an exceptional matte and warm patina enhanced in places with gold leaf which is perfectly suited to the illusion of serenity desired by the artist. Please watch the video shared by Christie's.
He learns with Rodin that the human figure can be reduced to a single element. A head lying on a ground symbolizes the serenity. He appreciates from Gauguin that Oceanic tribal art can influence the modern universal art through its extreme simplification of forms. The skilled bearded strongman chooses the direct cut contrary to the practice of his time. He will influence Modigliani.
Brancusi began in 1907 to conceive his series of masterpieces. In Le Baiser he is the first artist who suggests a development of Cubism in sculpture.
In 1909 he creates the prototype of La Muse endormie in white marble. The lying head is an egg in which the facial features and the hair are only lightly incised. The nape of the neck is used as a support. Despite the stylization it is unquestionably a portrait of his model the baronne Frachon. The artist succeeded in the impossible synthesis between geometry and portraiture.
In 1910 Brancusi produces three plasters and six bronzes from his first Muse endormie. The bronzes are cast by Valsuani but the patina different in each of the bronzes is executed by the artist himself with a painstaking care.
On May 15 in New York, Christie's sells one of the six bronzes, 27 cm long, lot 32 A estimated $ 20M. This specimen has an exceptional matte and warm patina enhanced in places with gold leaf which is perfectly suited to the illusion of serenity desired by the artist. Please watch the video shared by Christie's.
2
1912 plaster
2015 SOLD for $ 9.1M by Christie's
At the same time when new trends in painting terminate the classicism, Brancusi shakes forever the sculpture. The Kiss, started in direct cut in 1907, is the counterpoint of Cubism with its two contiguous characters.
The young artist did not want to follow Rodin. His origins as a son of Carpathian peasants certainly helped him to reject the traditions of the art of Western Europe. When he carved in white marble the other seminal model of his art, the Sleeping Muse, in 1910-1911, he already sought to express a universal emotion.
The Sleeping Muse is also a vital egg. The figure is ovoid with a sweet protrusion granted to the nose and eyebrows. Finely chiseled lines synthesize the facial and hair features. The sitter is recognizable with no trend toward abstraction, but this artwork is already an interpretation of the ideal woman. The artist begins to realize some plasters and bronzes.
On May 14 in New York, Christie's sells a plaster of La Muse endormie I executed in 1912, 28 cm long, lot 11C estimated $ 8M. This example is one of the works that ensured the glory of Brancusi at the exhibition of the Armory Show in New York on the following year.
It is interesting to compare this specimen with a plaster from the same year entitled Une Muse where the head of the same model found a more traditional attitude as part of a bust. This sculpture 46 cm high was sold for $ 12.4 million including premium by Christie's on November 7, 2012.
The young artist did not want to follow Rodin. His origins as a son of Carpathian peasants certainly helped him to reject the traditions of the art of Western Europe. When he carved in white marble the other seminal model of his art, the Sleeping Muse, in 1910-1911, he already sought to express a universal emotion.
The Sleeping Muse is also a vital egg. The figure is ovoid with a sweet protrusion granted to the nose and eyebrows. Finely chiseled lines synthesize the facial and hair features. The sitter is recognizable with no trend toward abstraction, but this artwork is already an interpretation of the ideal woman. The artist begins to realize some plasters and bronzes.
On May 14 in New York, Christie's sells a plaster of La Muse endormie I executed in 1912, 28 cm long, lot 11C estimated $ 8M. This example is one of the works that ensured the glory of Brancusi at the exhibition of the Armory Show in New York on the following year.
It is interesting to compare this specimen with a plaster from the same year entitled Une Muse where the head of the same model found a more traditional attitude as part of a bust. This sculpture 46 cm high was sold for $ 12.4 million including premium by Christie's on November 7, 2012.
1911 Prométhée
2012 SOLD for $ 12.7M by Sotheby's
Conceived in 1909 by Brancusi, La Muse Endormie reduces the figure to an ovoid head with some face lines. The head is treated as an autonomous object rather than a fragment of the body.
In 1911 his Prométhée goes still closer to abstraction. Almost all details have disappeared. The remnants are traces of the neck, of an ear and of a line defining nose and brow. He was inspired by Goethe's Prometheus poem brought to him by his muse Margit Pogany.
Brancusi managed to compare his own creativity with the mystical birth of the human race. Prometheus is the mythological Titan who gave birth to mankind from clay and stole the fire in heaven.
The conclusion of the story is the eagle endlessly eating the liver of Prometheus in chains. It is reflected is the slight backward inclination of the head to express pain or sorrow.
Gold is the suitable glowing color to remind Prometheus's fire. A 14 x 17.5 x 14 cm polished gilt bronze cast in 1911 was sold for $ 12.7M from a lower estimate of $ 6M by Sotheby's on May 2, 2012, lot 43.
Brancusi made three other casts in bronze, one marble, two plasters and two in black cement.
The final iteration of this theme with no remaining detail on the undisturbed ovoid form is titled Le Commencement du Monde, conceived in 1920-1924.
In 1911 his Prométhée goes still closer to abstraction. Almost all details have disappeared. The remnants are traces of the neck, of an ear and of a line defining nose and brow. He was inspired by Goethe's Prometheus poem brought to him by his muse Margit Pogany.
Brancusi managed to compare his own creativity with the mystical birth of the human race. Prometheus is the mythological Titan who gave birth to mankind from clay and stole the fire in heaven.
The conclusion of the story is the eagle endlessly eating the liver of Prometheus in chains. It is reflected is the slight backward inclination of the head to express pain or sorrow.
Gold is the suitable glowing color to remind Prometheus's fire. A 14 x 17.5 x 14 cm polished gilt bronze cast in 1911 was sold for $ 12.7M from a lower estimate of $ 6M by Sotheby's on May 2, 2012, lot 43.
Brancusi made three other casts in bronze, one marble, two plasters and two in black cement.
The final iteration of this theme with no remaining detail on the undisturbed ovoid form is titled Le Commencement du Monde, conceived in 1920-1924.
1912 Une Muse
2012 SOLD for $ 12.4M by Christie's
From the very beginnings of Cubist painting, Brancusi feels that a simplification of forms is also possible in sculpture without abandoning the figurative art.
Portraiting the women made him busy for several years. The facial features become slightly marked through more simple growths or deformations. Within this period, the heads of his two main models, Baroness Frachon and Miss Pogany, remain recognizable.
On November 7 in New York, Christie's sells a plaster of the Baroness, entitled Une Muse, made in 1912, 46 cm high. This sculpture is shown in the press release shared by Artdaily.
At this time, the artist develops two opposite representations of his muse-baroness. Asleep, she has lost her neck and her personality also fades. Awakened, as in the example coming for sale, the effect is more psychological and the simplification is still far from abstraction. The gaze is empty, but the mouth invites to communication.
The estimate of $ 10M is high for a plaster, even by Brancusi. Note, however, the outstanding history of this piece which contributed to the reputation of the artist the following year in an exhibition at the Armory Show in New York.
I invite you to play the video shared by Christie's.
POST SALE COMMENT
The very good price of this plaster, $ 12.4 million including premium is related to its exceptional positioning in the development of Brancusi's creativity.
Portraiting the women made him busy for several years. The facial features become slightly marked through more simple growths or deformations. Within this period, the heads of his two main models, Baroness Frachon and Miss Pogany, remain recognizable.
On November 7 in New York, Christie's sells a plaster of the Baroness, entitled Une Muse, made in 1912, 46 cm high. This sculpture is shown in the press release shared by Artdaily.
At this time, the artist develops two opposite representations of his muse-baroness. Asleep, she has lost her neck and her personality also fades. Awakened, as in the example coming for sale, the effect is more psychological and the simplification is still far from abstraction. The gaze is empty, but the mouth invites to communication.
The estimate of $ 10M is high for a plaster, even by Brancusi. Note, however, the outstanding history of this piece which contributed to the reputation of the artist the following year in an exhibition at the Armory Show in New York.
I invite you to play the video shared by Christie's.
POST SALE COMMENT
The very good price of this plaster, $ 12.4 million including premium is related to its exceptional positioning in the development of Brancusi's creativity.
1913 Danaïde
2002 SOLD for $ 18M by Christie's
Each human head is different from the others. Constantin Brancusi goes against the realistic tradition of sculpted portraiture : he seeks the essential characteristics for simplifying them to the extreme. As long as the model takes pleasure in recognizing herself, we may consider that the work is successful. He is too far ahead of his time : art critics and the public do not follow.
The baronne Frachon was his muse from 1908 to 1910. Brancusi then met Margit Pogany, a Hungarian student recognizable by her round head, bulging eyes, thick eyebrows and austere bun. He invites her to come and see his recent works in his studio in Montparnasse. She recognizes her own gaze in a face that was not hers.
Pogany agrees to pose for the artist in December 1910 and January 1911. Brancusi observes his visitor and then destroys his own clay sketches : a portrait taken from life is not his business. Pogany leaves Paris shortly after.
The artist begins in parallel two series of heads, which are added to the Muses inspired by Frachon. One of them, with bulging eyes, is titled Mlle Pogany. The other, titled Danaïde, shows an arcature of the eyes that reminds the pure geometry of the best African masks. For several decades, he produces variants from this catalog of heads. Danaïde, which is a reference to the fifty daughters of Danaos, is an incentive to create multiples.
On May 7, 2002, Christie's sold a Danaïde for $ 18M including premium from a lower estimate of $ 8M, lot 27. This 28 cm high bronze was designed in 1913, cast by Valsuani with a dark brown patina, and the face has been leaf gilded. Six other bronzes are known, only one of which is gilded.
The baronne Frachon was his muse from 1908 to 1910. Brancusi then met Margit Pogany, a Hungarian student recognizable by her round head, bulging eyes, thick eyebrows and austere bun. He invites her to come and see his recent works in his studio in Montparnasse. She recognizes her own gaze in a face that was not hers.
Pogany agrees to pose for the artist in December 1910 and January 1911. Brancusi observes his visitor and then destroys his own clay sketches : a portrait taken from life is not his business. Pogany leaves Paris shortly after.
The artist begins in parallel two series of heads, which are added to the Muses inspired by Frachon. One of them, with bulging eyes, is titled Mlle Pogany. The other, titled Danaïde, shows an arcature of the eyes that reminds the pure geometry of the best African masks. For several decades, he produces variants from this catalog of heads. Danaïde, which is a reference to the fifty daughters of Danaos, is an incentive to create multiples.
On May 7, 2002, Christie's sold a Danaïde for $ 18M including premium from a lower estimate of $ 8M, lot 27. This 28 cm high bronze was designed in 1913, cast by Valsuani with a dark brown patina, and the face has been leaf gilded. Six other bronzes are known, only one of which is gilded.
1914-1917 Portrait de Mme LR
2009 SOLD for € 29M by Christie's
A visit to the archives of Christie's, caused by a forthcoming sale in Paris, allows us to appreciate the evolution of the work of Constantin Brancusi, this artist reputed to have invented the modern sculpture.
The Cubist painting was developed in 1907 by Picasso in search of a representation of depth that would no longer use the perspective. At the same time, 1907-1908, the Kiss by Brancusi destructures also the forms. Two stylized head, face to face, form a cube. A simple plaster of this seminal work has been sold $ 3.6 million including expenses by Christie's in 2005.
In 1913, the shape of the Danaid is summarized by a perfect ovoid head on which two arcs draw the eyebrows and the nose. We are halfway between the figurative and the abstraction. Figurative is still dominating due to the bun and neck applied to the head egg. A small bronze 28 cm high was sold $ 18 million including expenses by Christie's in 2002.
The Brancusi from the Saint-Laurent collection, that Christie's and Pierre Bergé will sell in Paris from 23 to 25 February, is entitled Portrait de Madame LR. This wooden statue of 1.20 meter high has the global look of an African statuette. In focus, it is a geometrical construction where the figurative has almost disappeared. This work was done between 1914 and 1917. It is estimated 15 million €.
Then, the lines get longer and become pure forms. The Bird in Space of 1922-1923 is not a bird, excepted for the title of the work and the inspiration of the artist. In marble, one of those statues of 85 cm high, mounted on a stone base, has reached $ 27 million including expenses at Christie's in 2005. As Malevich, as Mondrian, Brancusi was able to free his art from any emotional aspect, to only retain shape and texture.
In 1920-1925, the work entitled Mademoiselle Pogany resumed some characteristics of the Danaid. Christie's sold a bronze $ 7 million in 1997.
POST SALE COMMENT
The Brancusi of the Saint-Laurent collection was a masterpiece, it was obvious. It was sold € 29 million including premium.
The Cubist painting was developed in 1907 by Picasso in search of a representation of depth that would no longer use the perspective. At the same time, 1907-1908, the Kiss by Brancusi destructures also the forms. Two stylized head, face to face, form a cube. A simple plaster of this seminal work has been sold $ 3.6 million including expenses by Christie's in 2005.
In 1913, the shape of the Danaid is summarized by a perfect ovoid head on which two arcs draw the eyebrows and the nose. We are halfway between the figurative and the abstraction. Figurative is still dominating due to the bun and neck applied to the head egg. A small bronze 28 cm high was sold $ 18 million including expenses by Christie's in 2002.
The Brancusi from the Saint-Laurent collection, that Christie's and Pierre Bergé will sell in Paris from 23 to 25 February, is entitled Portrait de Madame LR. This wooden statue of 1.20 meter high has the global look of an African statuette. In focus, it is a geometrical construction where the figurative has almost disappeared. This work was done between 1914 and 1917. It is estimated 15 million €.
Then, the lines get longer and become pure forms. The Bird in Space of 1922-1923 is not a bird, excepted for the title of the work and the inspiration of the artist. In marble, one of those statues of 85 cm high, mounted on a stone base, has reached $ 27 million including expenses at Christie's in 2005. As Malevich, as Mondrian, Brancusi was able to free his art from any emotional aspect, to only retain shape and texture.
In 1920-1925, the work entitled Mademoiselle Pogany resumed some characteristics of the Danaid. Christie's sold a bronze $ 7 million in 1997.
POST SALE COMMENT
The Brancusi of the Saint-Laurent collection was a masterpiece, it was obvious. It was sold € 29 million including premium.
1917 Le Premier Cri
2011 SOLD for $ 14.9M by Christie's
Brancusi, like many others, seeks the meaning and origin of world and life. In 1913, inspired by African art, he makes a wooden sculpture titled "le premier pas" (the first step). A baby makes his debut in the active life by trying to walk.
It is amusing to note that the great creative act of the metaphysical work of Brancusi is destructive. He breaks his wooden statue, keeping only the head. This new piece is ovoid, which is the perfect shape to symbolize the creation. Neither hair nor ears, nor neck.
With just the outline of an eye, of the nose and of the mouth, the egg becomes the head of a wailing baby, slightly larger than life, 26 cm long. It is entitled "le premier cri" and edited in 1917.
The copy for sale at Christie's in New York on November 1 is a polished bronze, with a high reflective effect. For such an outstanding work, the estimate, $ 8M, is conservative.
I invite you to play the video shared by Christie's.
POST SALE COMMENT
This bronze of a seminal sculpture by Brancusi was of course more outstanding than its estimate. It was sold $ 14.9 million including premium.
It is amusing to note that the great creative act of the metaphysical work of Brancusi is destructive. He breaks his wooden statue, keeping only the head. This new piece is ovoid, which is the perfect shape to symbolize the creation. Neither hair nor ears, nor neck.
With just the outline of an eye, of the nose and of the mouth, the egg becomes the head of a wailing baby, slightly larger than life, 26 cm long. It is entitled "le premier cri" and edited in 1917.
The copy for sale at Christie's in New York on November 1 is a polished bronze, with a high reflective effect. For such an outstanding work, the estimate, $ 8M, is conservative.
I invite you to play the video shared by Christie's.
POST SALE COMMENT
This bronze of a seminal sculpture by Brancusi was of course more outstanding than its estimate. It was sold $ 14.9 million including premium.
1922 Oiseau dans l'Espace
2005 SOLD for $ 27.5M by Christie's
Brancusi has no desire for a figurative representation of nature. The theme of the bird appeals him because the flight is an ascending link from earth to sky. The ultimate outcome is the Oiseau dans l'Espace, designed in the 1920s in the continuation of the Colonnes sans fin. The abstraction is total, except that if the bird was placed on its side it would look like a later childish fish by Calder.
A previously unknown example came out of its crate, where it had been installed by its owner Léonie Ricou preparing a move to Brussels. A protector of artists and poets, Mme Ricou had been the designated model of the abstract wooden figure titled Portrait de Madame L.R. sculpted by Brancusi between 1914 and 1917.
This newly surfaced Oiseau in a gray-blue marble with white veins on a limestone socle and pedestal is one of the smallest, with 85 cm high for the marble and 122 cm overall. Its proportions are remarkably balanced, with a superb polished stone which has been perfectly preserved by its long-term storage. It is possibly the very first Oiseau dans l'Espace, even before the 137 cm Etude, already closer to the sky, dated 1922.
This seminal piece was sold for $ 27.5M including premium by Christie's on May 4, 2005 over a lower estimate of $ 8M, lot 7. This result was at that time the highest price recorded at auction for any sculpture.
Brancusi and his Birds were ahead of their time. An anecdote is famous in the history of art. In 1926 a bronze sent to the United States for an exhibition was intercepted by customs officials, refusing to qualify it as a work of art which would have exempted it from import tax. It was reclassified in the category of kitchen utensils while awaiting the final decision, which will fortunately be favorable to the artist and will set a precedent for the legal recognition of abstract sculpture.
A previously unknown example came out of its crate, where it had been installed by its owner Léonie Ricou preparing a move to Brussels. A protector of artists and poets, Mme Ricou had been the designated model of the abstract wooden figure titled Portrait de Madame L.R. sculpted by Brancusi between 1914 and 1917.
This newly surfaced Oiseau in a gray-blue marble with white veins on a limestone socle and pedestal is one of the smallest, with 85 cm high for the marble and 122 cm overall. Its proportions are remarkably balanced, with a superb polished stone which has been perfectly preserved by its long-term storage. It is possibly the very first Oiseau dans l'Espace, even before the 137 cm Etude, already closer to the sky, dated 1922.
This seminal piece was sold for $ 27.5M including premium by Christie's on May 4, 2005 over a lower estimate of $ 8M, lot 7. This result was at that time the highest price recorded at auction for any sculpture.
Brancusi and his Birds were ahead of their time. An anecdote is famous in the history of art. In 1926 a bronze sent to the United States for an exhibition was intercepted by customs officials, refusing to qualify it as a work of art which would have exempted it from import tax. It was reclassified in the category of kitchen utensils while awaiting the final decision, which will fortunately be favorable to the artist and will set a precedent for the legal recognition of abstract sculpture.
1932 La Jeune Fille Sophistiquée
2018 SOLD for $ 71M by Christie's
Being a muse for Brancusi was not a difficult task. He had met Margit Pogany very briefly in 1910 but liked the shape of her head which inspired him until the mid-1920s.
The heads sculpted by Brancusi are not abstract. He considers that everything that overflows, mainly nose and ears, is inappropriate to express the deep reality of a portrait. He gradually reduces these growths to a surface carving up to removing them completely.
Around 1925 he made a wooden bust 55 cm high on the theme of La Jeune Fille Sophistiquée. He takes Nancy Cunard as a model, without telling her. The heiress of the Cunard shipowners, she has an eccentric life that symbolizes the roaring twenties in the Parisian literary and artistic circles. She is sexually liberated and anarchist, and her attires are inspired by Africa.
The almost abstract head is indeed a portrait. Comparing with the photos of the period, we recognize the bulging forehead and the receding chin, and the stiff neck from behind. This disturbing muse always offers in the photos an unpleasant pout that we imagine also through the rare incisions of the sculpture. The pinched bun is an evocation of her signature bunches.
Brancusi made a plaster in 1928 and a unique polished bronze in 1932. This bronze is still installed on the marble base designed by the artist, for a total height of 80 cm. It will be sold at lot 19 A by Christie's in New York on May 15. Please watch the video shared by the auction house.
Nancy Cunard discovered many years later that she had served as a model for this artwork. After hesitating in its interpretation as a bust or a torso, she expressed her admiration for the artist.
The heads sculpted by Brancusi are not abstract. He considers that everything that overflows, mainly nose and ears, is inappropriate to express the deep reality of a portrait. He gradually reduces these growths to a surface carving up to removing them completely.
Around 1925 he made a wooden bust 55 cm high on the theme of La Jeune Fille Sophistiquée. He takes Nancy Cunard as a model, without telling her. The heiress of the Cunard shipowners, she has an eccentric life that symbolizes the roaring twenties in the Parisian literary and artistic circles. She is sexually liberated and anarchist, and her attires are inspired by Africa.
The almost abstract head is indeed a portrait. Comparing with the photos of the period, we recognize the bulging forehead and the receding chin, and the stiff neck from behind. This disturbing muse always offers in the photos an unpleasant pout that we imagine also through the rare incisions of the sculpture. The pinched bun is an evocation of her signature bunches.
Brancusi made a plaster in 1928 and a unique polished bronze in 1932. This bronze is still installed on the marble base designed by the artist, for a total height of 80 cm. It will be sold at lot 19 A by Christie's in New York on May 15. Please watch the video shared by the auction house.
Nancy Cunard discovered many years later that she had served as a model for this artwork. After hesitating in its interpretation as a bust or a torso, she expressed her admiration for the artist.
