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Modern Masters Series #12
Constantin Brancusi
This volume in the Modern Masters series is an important and perceptive study of the sculptor Constantin Brancusi, whose arresting forms have exerted a powerful impact on the art of this century. By incisively evaluating the diverse influences that channeled into the artist's work — including his academic training and brief apprenticeship with Auguste Rodin, the folk art and architecture of his native Romania, Cubism, and African art — Eric Shanes has produced an insightful study that reveals how this complex artist achieved the expressive simplicity of his innovative sculptures.
An extensive "Notes on Technique" section, illustrated with evocative views of the artist's studio, illuminates Brancusi's methods of working in all media, including photography, which he used to record his own ideas about how his sculpture should be seen. The many photographs by Brancusi are complemented by sensitive color illustrations that capture the essence of his art. Written with a clarity of prose that well serves the clarity of the sculptor's own work, this much-needed book presents the fascinating story of a profoundly influential artist.
About the Modern Masters
With informative, enjoyable texts and over 100 illustrations — approximately 48 in full color — this innovative series offers a fresh look at the most creative and influential artists of the postwar era. The authors are highly respected art historians and critics chosen for their ability to think clearly and write well. Each handsomely designed volume presents a thorough survey of the artist's life and work, as well as statements by the artist, an illustrated chapter on technique, a chronology, lists of exhibitions and public collections, an annotated bibliography, and an index. Every art lover, from the casual museumgoer to the serious student, teacher, critic, or curator, will be eager to collect these Modern Masters. And with such a low price, they can afford to collect them all.
An extensive "Notes on Technique" section, illustrated with evocative views of the artist's studio, illuminates Brancusi's methods of working in all media, including photography, which he used to record his own ideas about how his sculpture should be seen. The many photographs by Brancusi are complemented by sensitive color illustrations that capture the essence of his art. Written with a clarity of prose that well serves the clarity of the sculptor's own work, this much-needed book presents the fascinating story of a profoundly influential artist.
About the Modern Masters
With informative, enjoyable texts and over 100 illustrations — approximately 48 in full color — this innovative series offers a fresh look at the most creative and influential artists of the postwar era. The authors are highly respected art historians and critics chosen for their ability to think clearly and write well. Each handsomely designed volume presents a thorough survey of the artist's life and work, as well as statements by the artist, an illustrated chapter on technique, a chronology, lists of exhibitions and public collections, an annotated bibliography, and an index. Every art lover, from the casual museumgoer to the serious student, teacher, critic, or curator, will be eager to collect these Modern Masters. And with such a low price, they can afford to collect them all.
- GenresArt
128 pages, Paperback
First published June 1, 1989
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33 people want to read
About the author
Eric Shanes
115 books2 followersEric Shanes was a professional painter, independent art historian, and lecturer who was a leading expert on Turner. The vice president of the Turner Society, he authored many books on the artist.
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Displaying 1 - 3 of 3 reviews
September 27, 2019
If there is one thing to say about our dear Romanian Brancusi (1876-1957), student of Rodin and “romping around buddies” with the likes of no less than Modigliani, Picasso, Tzara, Apollinaire and Gurdjieff; it is that his figures are not just figuratively but actually timeless.
This work is a great cross section of his main pieces though (whispering now) “you can find most of his work on the internet.”
But his sculptures, yes, one could just as easily see a set director using them for a movie set 30,000 years ago as for 30,000 years into the future. That is the confounded, flipping odd thing about it. They are both; and also feel like they do not belong to the present or contemporary human period at all: like aliens sundering whatever space they occupy here, as if suddenly you hear a bronze gong ringing in your ears drowning all out upon impact of seeing them.
They are like anomalous monuments. Just literally timeless; for me that is the goal of art:
“A natural beauty should be preserved like a monument in nature.” - Neil Young
The best art is when someone puts 20 years into just one masterpiece and encodes all there is he knows into it in a concrete and economically simple manner.
Brancusi’s work does that and in a transpositional way too that, to be more clear, does not feel like it belongs in our century at all; or even last century, or even cutting edge 10 years from now, or 10 centuries ago. It only looks like it belongs in some far flung forgotten past or ill premonitioned, foreboding future; both exactly at once and beyond present in it’s presence.
I don’t know any other sculptures that do this, or any other art for that matter. That is why he is my favourite sculpturer. He loved Mythology and hung out with the Futurists; both show.
Michael Stipe, the great otherwise, or as he called himself: “truly queer,” first turned me on to him; well not literally, or well; I got over it (Monty Python reference).
Yeah he is phallic (Brancusi, well, Stipe too) but it is just more a lack of fear of vertigo for me I feel and sense. All the universe is scale and he climbs right up such comfortably in laying it all out.
So I commend him for all these reasons and recommend having a look at his works some time if you like, whether in this book or elsewhere.
This work is a great cross section of his main pieces though (whispering now) “you can find most of his work on the internet.”
But his sculptures, yes, one could just as easily see a set director using them for a movie set 30,000 years ago as for 30,000 years into the future. That is the confounded, flipping odd thing about it. They are both; and also feel like they do not belong to the present or contemporary human period at all: like aliens sundering whatever space they occupy here, as if suddenly you hear a bronze gong ringing in your ears drowning all out upon impact of seeing them.
They are like anomalous monuments. Just literally timeless; for me that is the goal of art:
“A natural beauty should be preserved like a monument in nature.” - Neil Young
The best art is when someone puts 20 years into just one masterpiece and encodes all there is he knows into it in a concrete and economically simple manner.
Brancusi’s work does that and in a transpositional way too that, to be more clear, does not feel like it belongs in our century at all; or even last century, or even cutting edge 10 years from now, or 10 centuries ago. It only looks like it belongs in some far flung forgotten past or ill premonitioned, foreboding future; both exactly at once and beyond present in it’s presence.
I don’t know any other sculptures that do this, or any other art for that matter. That is why he is my favourite sculpturer. He loved Mythology and hung out with the Futurists; both show.
Michael Stipe, the great otherwise, or as he called himself: “truly queer,” first turned me on to him; well not literally, or well; I got over it (Monty Python reference).
Yeah he is phallic (Brancusi, well, Stipe too) but it is just more a lack of fear of vertigo for me I feel and sense. All the universe is scale and he climbs right up such comfortably in laying it all out.
So I commend him for all these reasons and recommend having a look at his works some time if you like, whether in this book or elsewhere.
March 5, 2024
Shanes has written one of the best art books I have read. He keeps his feet on the ground as he interprets Brancusi’s work, making the art accessible to the layperson. The photos help to cement Shanes observations about Brancusi’s aims and evolution. I feel like I truly have an appreciation for Brancusi’s work now.
September 29, 2025
3.5
A great summary of a great artist. It was very informative, but felt a little jumbled at times. The author also wrote things as if we should just "take his word for it" rather than anything else. I did like the list of Brancusi quotes at the end, though.
A great summary of a great artist. It was very informative, but felt a little jumbled at times. The author also wrote things as if we should just "take his word for it" rather than anything else. I did like the list of Brancusi quotes at the end, though.
Displaying 1 - 3 of 3 reviews