Born in Romania, Constantin Brancusi first studied sculpture at the School of Arts and Crafts in Craiova (1894–98) and the National School of Fine Arts in Bucharest (1898–1902). In 1904, he left Romania permanently, traveling through Budapest, Vienna, Munich, Zurich, and Basel on his way to Paris. There, he continued his training at the École des Beaux-Arts (1905–7), and his work of the period attracted the attention of the French sculptor Auguste Rodin. About 1907, Brancusi began to work by direct carving as a means of distancing himself from Rodin's style. In Paris, Brancusi associated with many artists of the day, including Henri Rousseau, Henri Matisse, Fernand Léger, Amedeo Modigliani, and Marcel Duchamp. He showed five of his sculptures in the 1913 Armory Show in New York, and continued to exhibit widely throughout his life.From the 1920s to the '40s, Brancusi was preoccupied by the theme of a bird in flight. He concentrated not on the physical attributes of the bird but on its movement.
Nascut in Romania, Constantin Brancusi a studiat mai intai sculptura la Scoala de Arte si Meserii din Craiova (1894–98) si Scoala nationala de arta fina din Bucuresti (1898–1902). In 1904 el a plecat definitiv din Romania calatorind prin Budapesta,Viena,Munich, Zurich, si Basel in drumul sau spre to Paris. Acolo, si-a continuat pregatirea la Scoala de arte frumoase (1905–7), iar munca sa din acea perioada a atras atentia sculporului francez Auguste Rodin. In jurul anului 1907, Brancusi a inceput sa sculpteze direct distamtadu-se astfel de stilul lui Rodin. In Paris, Brancusi s-a asociat cu multi dintre artistii vremii, inclusiv Henri Rousseau, Henri Matisse, Fernand Léger, Amedeo Modigliani si Marcel Duchamp. Si-a expus cinci dintre sculpturile sale in Spectacolul Armory din 1913 din New York si a continuat sa expuna mult pe parcursul vietii. Din anii 1920 pana in anii 40, Brancusi a fost preocupat cu tema pasarii in zbor. El s-a concentrat nu pe atributele fizice ale pasarii ci pe ale miscarii sale.
The Endless Column – 1937
It is Brancusi’s masterpiece, seen by Ionel Jianu as a synthesis of his life time career... and by Barbu Brezianu as the essence of his work, being one of the most admired sculptures of the century.
It is Brancusi’s masterpiece, seen by Ionel Jianu as a synthesis of his life time career... and by Barbu Brezianu as the essence of his work, being one of the most admired sculptures of the century.
Coloana infinitului-1937
Este capodopera lui Brancusi, vazuta de ionel Jianu ca o sinteza a carierei sale de-a lungul vietii... si de Barbu Brezianu ca esenta municii sale, fiind una dintre cele mai admirate sculputi ale secolului.
THE TABLE OF SILENCE
The table suggests the harsh appearance of two windmill stones laid one above the other.
The sculptor used to say ...the line of The Table of Silence suggests the closed curbure of the circle which gets together, gets closer and unites.
The table suggests the harsh appearance of two windmill stones laid one above the other.
The sculptor used to say ...the line of The Table of Silence suggests the closed curbure of the circle which gets together, gets closer and unites.
MASA TACERI - Masa sugereaza aparitia dura a doua pietre de moara puse una peste alta. Sculptorul obisnuia sa spuna...linia Meseii Tacerii sugereaza curbura apropiata a cercului care se apropie pana se uneste.
THE GATE OF THE KISS
In the gate from Targu Jiu also known as The Gate of the Kiss, the embracing of the two bodies , as two halves of the same seed forms the perfect shape of a circle. Through the circle shaped sculpture, the Sun is being called invoking in this way its magical and natural power.
In the gate from Targu Jiu also known as The Gate of the Kiss, the embracing of the two bodies , as two halves of the same seed forms the perfect shape of a circle. Through the circle shaped sculpture, the Sun is being called invoking in this way its magical and natural power.
Poarta Sarutului - Poarta de la Targu Jiu cunoscuta ca si Poarta Sarutului, imbratisarea a doua corpuri, ca doua jumatati ale aceleiasi seminte, formeaza forma perfecta a unui cerc. Prin sculptura in forma de cerc soarele este chemat invocandu-i drumul spre puterea magica si naturala.
BIRD IN SPACE
From the 1920s to the '40s, Brancusi was preoccupied by the theme of a bird in flight. He concentrated not on the physical attributes of the bird but on its movement. In Bird in Space, wings and feathers are eliminated, the swell of the body is elongated, and the head and beak are reduced to a slanted oval plane. Balanced on a slender conical footing, the figure's upward thrust is unfettered. Brancusi's inspired abstraction realizes his stated intent to capture "the essence of flight."
From the 1920s to the '40s, Brancusi was preoccupied by the theme of a bird in flight. He concentrated not on the physical attributes of the bird but on its movement. In Bird in Space, wings and feathers are eliminated, the swell of the body is elongated, and the head and beak are reduced to a slanted oval plane. Balanced on a slender conical footing, the figure's upward thrust is unfettered. Brancusi's inspired abstraction realizes his stated intent to capture "the essence of flight."
Pasarea in spatiu- Din anii 1920 pana in anii 40 Brancusi a fost preocupat cu tema pasarii in zbor. El s-a concentrat nu pa atributle fizce ale pasarii ci pe miscarea ei. In Pasare in Spatiu, aripile si penele sunt eliminate, forma corpului este prelungita iar capul si ciocul sunt reduse la un plan oval minim. Balansata pe un piedestral conic,forma ridicata este lipsita de aripi. Abstractizarea inspirata a lui Brancusi a atins intentia lui de a captura „esenta zborului”
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NICOLAE GRIGORESCU
Between 1856 and 1857, he painted the church of the Zamfira monastery, Prahova County, and in 1861 the church of the Agapia monastery. With the help of Mihail Kogălniceanu, he received a scholarship to study in France.
In the autumn of 1861, young Grigorescu left for Paris, where he studied at the École des Beaux-Arts. He also attended the workshop of Sébastien Cornu, where he had as a colleague Pierre-Auguste Renoir. Knowing his weaknesses, he concentrated drawing and composition. However, he soon left this workshop and, attracted by the artistic concepts of the Barbizon school, he left Paris for that village, where he became the associate of artists such as Jean-François Millet, Jean-Baptiste Camille Corot, Gustave Courbet and Théodore Rousseau. Under the influence of the movement, Grigorescu looked for new means of expression and followed the trend of en plein air painting, which was also important in Impressionism. As part of the Universal Exposition of Paris (1867), he contributed seven works. Then he exhibited at the Paris Salon of 1868 the painting Tânără ţigancă (Gypsy girl).
He returned to Romania a few times and starting in 1870 he participated in the exhibits of living artists and those organized by the Society of the Friends of the Belle-Arts. Between 1873 and 1874 he traveled to Italy, Greece and Vienna.
In 1877 he was called to accompany the Romanian Army as a "frontline painter" in the Romanian War of Independence. During the battles at the Grivica Strongpoint and Oryahovo, he made drawings and sketches which later used in creating larger-scale works.
In 1889 his work was featured in the Universal Exhibition in Paris and at the Romanian Atheneum. Centerpiece exhibits took place at the Romanian Atheneum would follow in 1891, 1895, 1897, 1902, and 1905.From 1879 to 1890 he worked in France, especially in Vitré, Bretagne, and in his workshop in Paris.
Nascut in Pitaru (judetul Dambovita). La o vartsa mica (intre 1848 si 1850), a devenit ucenic in atelierul pictorului Anton Chladek si a creat icoane pentru biserica din Băicoi si manastirea Căldăruşani. In 1856 el a creat istorica compozitie Mihai scăpând stindardul, pe care a prezentat-o printului valah Barbu Ştirbei,impreuna cu o petitie cerand ajutor financiar pentru studiile sale. Intre 1856 si 1857, a pictat biserica manastirii Zamfira, judetul Prahova , si in 1861 biserica manastirii Agapia . cu ajutorul lui Mihail Kogălniceanu,el a primit bursa pentru a studia in Franta. In toamna anului 1861,tanarul Grigorescu a plecat la Paris, unde a studiat la Scoala de Arte Frumoase. Deasemenea, el a urmat atelierul lui Sébastien Cornu, unde l-a avut drept coleg pe Pierre-Auguste Renoir. Cunoscandu-si slabiciunea, el s-a concentrat pe desen si compozitie. Totusi, in curand a plecat de la atelier, si atras, de conceptele artistice ale scolii lui Barbizon, a plecat din Paris catre acel satunde a deveni asociatul unor artisti precum Jean-François Millet, Jean-Baptiste Camille Corot, Gustave Courbet si Théodore Rousseau. Sub influenta miscarii, Grigorescu a cautat noi modalitati de expresie si a urmat curentul picturii en plein air care a fost important in Impresionism. Ca parte a expozitiei universale de la Paris,(1867), el a contribuit cu sapte lucrari. Apoi a expus la Salonul din Parisi in 1868 tabloul Tânără ţigancă . S-a intors in Romania de cateva ori si incepand cu 1870 a participat la cateva expozitii ale artistilor in viata si a celor organizate de Societatea Preitenilor Artelor Frumoase. Intre1873 si 1874 a calatorit in Italia, Greci si Viena. In 1877 a fost chemat sa insoteasca armata romana ca “pictor de frontiera” in Razboilu Roman de Independenta. In timpul bataliilor la Grivita si Oryahovo, a facut desene si schite pe care le-a folosit ulteriro pentru a crea operele la scara mare.
In 1889 operele sale au aparut in Expozitia Universala din Paris si la Ateneul Roman, Expozitii cu capodoperele sale au urmat la ateneul Roman in anii 1891, 1895, 1897, 1902, si 1905.
Din 1879 pana in 1890 el a lucrat in Franta, in special in Vitré, Bretania, si in atelierul sau din Paris.
Fisherwoman at Grandville
Oxen Cart
Peasant Woman Head
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THEODOR AMAN
The Romanian painter who after taking drawing lessons with Constantin Lecca painter, at the Central School from Craiova, goes, in 1850, to Paris, where he studies painting with Michel Martin Drolling, next, from 1851, with Francois Edouard Picot. This time he starts a historical compositions series, one of his favorites genre, in which he excels, creating a school (Last night of Mihai Viteazul, 1852; Battle from Oltenita, 1857; Battle from Alma, 1855; Union of the Principates, 1859; Romanian battle with the turks in St. George Island, 1859; Vlad Tepes and the messengers, 1861-1864; Turks driving away at Calugareni, 1872; Tudor Vladimirescu, 1874-1876; Boyards catched at dinner by Vald Tepes messengers, 1885-1887). The prestige he gained was encreased by being manager of the Fine Arts National School, since the creation of this institutions, in 1863. In his rigorous painting, the evocation symbols bring a certain freshness, in the sense of the artist situation in reality. The novelty of his paintings are responses to his social and political cares in the period of the national state formation. There are also tries to enlighten the palette, by instantaneous snapshots, which speak to us about the echo, being even pale, of his experiences with some french artist which painted outdoor, at Barbizon, near Paris, where in the 7th and 8th decades, the basis of impressionism are layed out (View with the boat on the lake; Street in Sinaia; Constanta Harbour; Family Reunion; Gunboat in Constanta Harbour; In Park etc.)
Pictorul roman care dupa ce a luat lectii de desen cu pictorul Constantin Lecca , la Scoala Centrala din Craiova, merge, in 1850, la Paris,unde studiaza pictura cu Michel Martin Drolling, apoi, din 1851, cu Francois Edouard Picot. De aceasta data incepe o serie de compozitii istorice, genul sa preferat, in care exceleaza creeind o scoala.(Utlima nopate a lui Mihai Viteazul852; Batalia de laOltenita, 1857; Batalia de la Alma, 1855; Unrea Principatelor, 1859; Batalia romanilor cu turciipe insula Sf. George , 1859; Vlad Tepes si solii, 1861-1864; Turcii retragandu-se de lat Calugareni, 1872; Tudor Vladimirescu, 1874-1876; Prestigiul castigat a fost marit prin faptul ca a ocupat postul de director al Scolii Nationale de Arte Fine, de la infiintarea acestei institutii in 1863. In pictura sa riguroasa, simbolurile evocarii aduc o anumita prospetime in sensul situatiei reale a artistului. Noutatea picturilor sale consta in raspunsurile pe care el le avea pentru grijile sociale si politice din perioada fomrarii statului national. Deasemene, el incearca sa lumineze paleta prin instantanee care vorbesc despre ecoul, chiar daca palid, al experientelor cu cativa artisti francezi cu care a pictat in exterior la Barbizon, aproape de Paris. Unde in secolele VII-VIII au fost stabilite bazele Impresionismului (Vedere cu barca pe lac, Strada in Sinaia,Portul Constanta, Reuniunea de familie, Barca in portul Constanta, In parc).
Looking in the album
Dance
Vase of Flowers
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