{"id":763,"date":"2016-02-16T16:21:30","date_gmt":"2016-02-16T16:21:30","guid":{"rendered":"http:\/\/romanianspring.com\/a\/ro\/uncategorized-ro\/in-search-of-essence-constantin-brancusi\/"},"modified":"2016-02-16T17:49:36","modified_gmt":"2016-02-16T17:49:36","slug":"in-search-of-essence-constantin-brancusi","status":"publish","type":"post","link":"https:\/\/romanianspring.com\/ro\/traditie-inovatie\/in-search-of-essence-constantin-brancusi\/","title":{"rendered":"\u00cen c\u0103utarea esen\u021bei: Constantin Br\u00e2ncu\u0219i"},"content":{"rendered":"

\"eric-rosenbloom-brancusi-colorostariu-sm\"<\/p>\n

Un \u021b\u0103ran rom\u00e2n \u00een c\u0103utarea esen\u021bei, Br\u00e2ncu\u0219i a pornit lungul s\u0103u drum pe jos spre Paris \u0219i a ajuns \u00een 1904 \u00eentr-un loc clocotind de art\u0103 \u0219i literatur\u0103. Era una dintre cele mai efervescente perioade pentru art\u0103 \u00een Paris, locul unde orice artist \u00ee\u0219i dorea s\u0103 fie, \u0219i mult\u0103 vreme a continuat sa r\u0103m\u00e2n\u0103 a\u0219a. La mul\u021bi ani dup\u0103 sosirea lui Br\u00e2ncu\u0219i, Marchel Duchamp a creat o lucrare de art\u0103 conceptual\u0103 \u00een care a \u00eembuteliat aerul Parisului \u00eentr-o sticlu\u021b\u0103 pentru a o oferi \u00een dar unui om care avea deja tot ce putea fi cump\u0103rat.<\/span><\/p>\n

Dup\u0103 ce audiaz\u0103 cursurile de la \u00c9cole des Beaux-Arts, Br\u00e2ncu\u0219i este invitat s\u0103 lucreze \u00een atelierul lui Rodin, dar \u00eel p\u0103r\u0103se\u0219te la scurt timp, declar\u00e2nd c\u0103 \u201cNimic nu poate cre\u0219te la umbra stejarilor m\u0103re\u021bi\u201c. \u00cencepe s\u0103 \u00ee\u0219i dezvolte propriul stil, desp\u0103r\u021bindu-se de tradi\u021bia figurativ\u0103 \u0219i trec\u00e2nd la tehnica cioplirii directe. Imitarea detaliat\u0103 a naturii nu prezenta interes pentru Br\u00e2ncu\u0219i, de\u0219i una dintre lucr\u0103rile lui timpurii, \u00c9corch\u00e9<\/i>-ul, un trup dezgolit de piele pentru a ilustra anatomia uman\u0103 era realizat at\u00e2t de precis, \u00eenc\u00e2t a fost folosit de c\u0103tre studen\u021bii de la medicin\u0103.<\/span><\/p>\n

\n

\u201cEu am f\u0103cut piatra s\u0103 c\u00eente – pentru Umanitate.\u201d<\/span><\/p>\n<\/blockquote>\n

Cercul de prieteni ai lui Br\u00e2ncu\u0219i \u00eei includea pe Henri Matisse, Eric Satie, Guillaume Apollinaire, Amedeo Modigliani, Marcel Duchamp, Fernand L\u00e9ger, Henri Rousseau, Francis Picabia \u0219i Tristan Tzara. Adesea erau invita\u021bi s\u0103 m\u0103n\u00e2nce m\u00e2ncarea simpl\u0103, \u021b\u0103r\u0103neasc\u0103, pe care Br\u00e2ncu\u0219i o g\u0103tea cu pl\u0103cere la el acas\u0103, unde aproape fiecare obiect fusese f\u0103cut de m\u00e2na lui.<\/span><\/p>\n

Man Ray \u00eei sf\u0103tuia \u00een ale fotografiei, c\u0103ci Br\u00e2ncu\u0219i hot\u0103r\u00e2se s\u0103-\u0219i fotografieze lucr\u0103rile \u0219i atelierul. Astfel, au fost studiate \u0219i fotografiate din diferite unghiuri, rezult\u00e2nd o colec\u021bie considerabil\u0103. O serie de autoportrete au r\u0103mas m\u0103rturie folosirii acestui mediu fotografic.<\/span><\/p>\n

\n

\u201cEu nu sunt nici suprarealist, nici baroc, nici cubist; \u015fi nici alt\u00adceva de soiul acesta; eu, cu noul meu, vin din ceva care este foarte vechi\u2026\u201d<\/span><\/p>\n<\/blockquote>\n

\u00cen realizarea lucr\u0103rilor Rug\u0103ciune<\/i> (1907), urmat\u0103 de \u00cen\u021belepciune<\/i> \u0219i Cumin\u021benia P\u0103m\u00e2ntului<\/i>, Br\u00e2ncu\u0219i introdus o schimbare de stil care reflect\u0103 evolu\u021bia c\u0103tre formele simplificate.<\/span><\/p>\n

Una dintre lucr\u0103rile anterioare, Somnul<\/i>, a fost o sculptur\u0103 figurativ\u0103 a unui cap feminin care se ive\u0219te din materie \u0219i pare a pluti \u00eentr-un nor. \u00cen 1909 \u00eencepe o serie de Muze adormite<\/i>, unele sculptate \u00een marmur\u0103, altele \u00een bronz, cu capete odihnind lini\u0219tite, eliberate de orice detaliu \u00een plus.<\/span><\/p>\n

Mai t\u00e2rziu, multe versiuni ale S\u0103rutului<\/i> \u0219i ale P\u0103s\u0103rii \u00een spa\u021biu<\/i> vor trece prin transform\u0103ri succesive pentru a \u00eentrupa esen\u021ba. S\u0103rutul<\/i> se va transforma dintr-o \u00eembr\u0103\u021bi\u0219are cubist\u0103 a unui cuplu, \u00eentr-o pereche de ochi \u00eencercuite de o linie dubl\u0103 \u00een Poarta S\u0103rutului<\/i>. Pe\u0219tele<\/i> \u0219i M\u0103iastra<\/i>, pas\u0103rea fermecat\u0103 din pove\u0219tile rom\u00e2ne\u0219ti, devin \u0219i ele subiecte ale altor serii. Piedestalele devin parte integral\u0103 a sculpturii, sau, ca \u00een cazul lucr\u0103rii Adam<\/i>, baza lucr\u0103rii Adam \u0219i Eva<\/i>.<\/span><\/p>\n

\n

\u201cEu nu am c\u0103utat, \u00een toat\u0103 via\u0163a mea, dec\u00eet esen\u0163a zborului! Zborul – ce fericire!\u2026\u201d <\/span><\/p>\n<\/blockquote>\n

\u00cen 1914, Br\u00e2ncu\u0219i are prima expozi\u021bie personal\u0103 la New York, la galeria lui Alfred Stieglitz. \u00cen 1926 merge \u00een Statele Unite de dou\u0103 ori, pentru expozi\u021bii personale la galeriile Wildenstein \u0219i Brummer din New York. Un proces cu valoare istoric\u0103 intentat \u00een Statele Unite a fost necesar pentru a determina dac\u0103 Pas\u0103rea \u00een spa\u021biu<\/i>, cu forma ei dinamic\u0103 ca a unei aripi de avion modern, trebuie s\u0103 fie v\u0103muit\u0103 ca obiect industrial. Decizia cur\u021bii a fost c\u0103 sculptura este o oper\u0103 de art\u0103.<\/span><\/p>\n

\u00cen 1920 o alt\u0103 controvers\u0103 avusese loc c\u00e2nd Prin\u021besa X<\/i> a fost expus\u0103 la Paris \u0219i eliminat\u0103 pe motiv de obscenitate. Br\u00e2ncu\u0219i a insistat c\u0103 sculptura reprezenta un ideal feminin.<\/span><\/p>\n

\n

\u201cElementele Coloanelor mele infinite nu s\u00eent altceva dec\u00eet \u00eens\u0103\u015fi respira\u0163ia omului, propriul ei ritm\u2026\u201d<\/span><\/p>\n<\/blockquote>\n

Ansamblul monumental de la T\u00e2rgu Jiu, dedicat eroilor din primul r\u0103zboi mondial, este format din Masa T\u0103cerii<\/i>, continuat de Aleea Scaunelor <\/i>p\u00e2n\u0103 la Poarta S\u0103rutului<\/i> \u0219i Coloana Infinit\u0103<\/i>, care se ridic\u0103 \u00een mijlocul unui parc ce-i poart\u0103 numele. Masa T\u0103cerii<\/i> poate fi v\u0103zut\u0103 ca o contemplare a trecerii timpului, cu cele dou\u0103sprezece scaune ca ni\u0219te clepsidre, un \u201ccerc care adun\u0103 \u0219i une\u0219te\u201d oamenii, dup\u0103 cum spunea Br\u00e2ncu\u0219i. Poarta S\u0103rutului<\/i> simbolizeaz\u0103 trecerea de la via\u021b\u0103 \u00een t\u0103r\u00e2mul mor\u021bii \u0219i reprezint\u0103 dragostea. Coloana Infinit\u0103<\/i> este o celebrare a vie\u021bii \u0219i mor\u021bii, eterna aspira\u021bie c\u0103tre absolut.<\/span><\/p>\n

Foto: Eric Rosenbloom
\n<\/span>Colorizare<\/span>: Florin Ro\u0219tariu,<\/a>\u00a0<\/span><\/span>Colorostariu<\/span><\/a><\/span><\/p>\n","protected":false},"excerpt":{"rendered":"

Un \u021b\u0103ran rom\u00e2n \u00een c\u0103utarea esen\u021bei, Br\u00e2ncu\u0219i a pornit lungul s\u0103u drum pe jos spre Paris \u0219i a ajuns \u00een 1904 \u00eentr-un loc clocotind de art\u0103 \u0219i literatur\u0103. Era una dintre cele mai efervescente perioade pentru art\u0103 \u00een Paris, locul unde orice artist \u00ee\u0219i dorea s\u0103 fie, \u0219i mult\u0103 vreme a continuat sa r\u0103m\u00e2n\u0103 a\u0219a. Read More ><\/a><\/p>\n","protected":false},"author":9,"featured_media":720,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":[],"categories":[30,51],"tags":[427,428,429,430,114,431,377,432,378,379,380,381,383,422,423,424,425,426],"yoast_head":"\n\u00cen c\u0103utarea esen\u021bei: Constantin Br\u00e2ncu\u0219i - Romanian Spring<\/title>\n<meta name=\"robots\" content=\"index, follow, max-snippet:-1, max-image-preview:large, max-video-preview:-1\" \/>\n<link rel=\"canonical\" href=\"https:\/\/romanianspring.com\/ro\/traditie-inovatie\/in-search-of-essence-constantin-brancusi\/\" \/>\n<meta property=\"og:locale\" content=\"ro_RO\" \/>\n<meta property=\"og:type\" content=\"article\" \/>\n<meta property=\"og:title\" content=\"\u00cen c\u0103utarea esen\u021bei: Constantin Br\u00e2ncu\u0219i - Romanian Spring\" \/>\n<meta property=\"og:description\" content=\"Un \u021b\u0103ran rom\u00e2n \u00een c\u0103utarea esen\u021bei, Br\u00e2ncu\u0219i a pornit lungul s\u0103u drum pe jos spre Paris \u0219i a ajuns \u00een 1904 \u00eentr-un loc clocotind de art\u0103 \u0219i literatur\u0103. Era una dintre cele mai efervescente perioade pentru art\u0103 \u00een Paris, locul unde orice artist \u00ee\u0219i dorea s\u0103 fie, \u0219i mult\u0103 vreme a continuat sa r\u0103m\u00e2n\u0103 a\u0219a. 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