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References: 1. That Brancusi delved into sculptural forms from other non-western cultures is well established, as is the effect that these explorations had on the development of his personal style. Major works are cited in the bibliography should be referred to for these arguments. 2. There is no clear consensus as to when Brancusi left Hobitza; he is presumed to have left between the ages of 9 and 11. 3. The length of time that Brancusi spent with Rodin is not entirely certain, although most accounts settle on the one-month time period. 4. Anna Chave, Constantin Brancusi: Shifting the Bases of Art (New Haven, CT: Yale University Press, 1993), p. 189. 5. Eugène Ionesco, "Recollections of Brancusi," Harper's Bazaar (Feb. 1962), p. 104, cited in Chave (1993), p. 173. 6. Herbert J.Seligmann, Alfred Stieglitz Talking: Notes on Some of His Conversations, 1925-1931 (New Haven, CT: Yale University Library, 1966), p. 69, cited in Chave (1993), p. 173. 7. Claire Gilles Guilbert, "Propos de Brancusi," in Prisme des Arts, vol. 12 (1957), p. 6, cited in Chave (1993), p. 173. 8. Anatole Jakovski, "Brancusi," in Axis (July 1935), p. 3, cited in Chave (1993), p. 175. 9. There have been many convincing analyses of the influence of African art on Brancusi. For an excellent treatment of the subject, see Sidney Geist, "Brancusi," in Primitivism in 20th Century Art, William Rubin, ed. (New York: The Museum of Modern Art, 1984), pp. 345-67. 10. William Tucker, "Brancusi: the Elements of Sculpture," in Early Modern Sculpture (Oxford: Oxford University Press, 1974), p. 43. Italics are mine for emphasis. 11. Lipsey, Roger, "Constantin Brancusi: Negating the Labyrinth," in An Art of Our Own: The Spiritual in Twentieth Century Art, (Boston: Shambhala, 1988), p. 246. 12. Chave (1993), p. 174. 13. Edith Balas, "Object-Sculpture, Base and Assemblage in the Art of Constantin Brancusi," Art Journal, vol. 38/1 (Fall 1978), p. 38. 14. Margit Rowell, "Timelessness in a Modern Mode," in Bach, et. al., Constantin Brancusi: 1876-1957 (Cambridge, MA: The MIT Press, 1995), p. 47. 15. Edith Balas, Brancusi and Rumanian Folk Traditions (New York: Columbia University Press, 1987), p. 1. 16. Lipsey (1988), p. 227. 17. Lipsey (1988), p. 227. 18. Life magazine, 1955, cited in Chave (1993), p. 174. 19. Chave (1993), p. 174. 20. Sidney Geist, Brancusi: A Study of the Sculpture (New York: Grossman Publishers, 1968), p. 143. 21. Carola Giedion-Welcker, Constantin Brancusi (New York: George Braziller, Inc., 1959), p. 219. 22. Brooklyn Eagle (28 Feb. 1926), as cited in Chave (1993), p. 173. 23. Samuel Putnam, Paris Was Our Mistress: Memoirs of a Lost and Found Generation (New York: Viking Press, 1947), pp. 199-200, cited in Chave (1993), p. 173-4. 24. Lipsey (1988), p. 242. 25. Lipsey (1988), p. 244. 26. Lipsey (1988), p. 244. 27. Arthur Danto, "Constantin Brancusi," The Nation (January 22, 1996), p. 33. 28. Chave (1993), p. 174. 29. Mircea Eliade, "Brancusi and Mythology," in Ordeal by Labyrinth (Chicago: The University of Chicago Press, 1982), p. 198. 30. Balas (1987), p. 22. 31. For more information on this, see Ron Johnson, The Early Sculpture of Picasso, 1901-1914 (New York: Garland Pub., 1976), pp. 105-110, cited in Balas (1987), p. 22. 32. Geist (1984), p. 347. 33. Eliade (1982), p.195. 34. Athena T. Spear, Brancusi's Birds (New York: University Press, 1969), p. 3. The following summary description of the Ma•astra is adapted from Spear. 35. Spear (1969), p. 5. 36. Barbu Brezianu (1966), cited in Balas (1987), p. 4. 37. Spear (1969), p. 6. 38. Spear (1969), p. 6. 39. Radu Varia, Brancusi, (New York: Rizzoli International Publications, Inc., 1986), p. 265. 40. Eliade (1982), p. 198. 41. Eliade (1982), p. 199. 42. Giedion-Welcker (1959), p. 220. 43. Balas (1987), p. 29. 44. See Francis Naumann, "From Origin to Influence and Beyond: Brancusi's 'Column Without End,'" Arts Magazine, vol. 59/9 (May 1985), pp. 112-118. 45. Naumann (1985), p.116. Naumann notes that some of the pillars to which the Endless Column has been compared date to the period after the erection of the monument at Tirgu-Jiu, thus displaying the reverse influence of Brancusi on Rumania! 46. Geist (1984), p. 357. Geist maintains "no claimant for a Rumanian source has been able to find, in the rich lexicon of Rumanian columns, anything resembling the Endless Column." Evidence in this essay points to a contrary position. 47. Geist (1984), p. 354. 48. Giedion-Welcker (1959), p. 33. 49. Bette Spektorov, "Endless Columns," Studio International, vol. 198/1008 (March 1985), p. 55. 50. Lipsey (1988), p. 242. 51. Pontus Hulten, et, al., Brancusi (New York: Harry N. Abrams, 1987), p. 169, cited in Chave (1993), p. 196. 52. Petru Cormanescu (1966), p. 1, cited in Balas (1987), p. xiv. |
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