Constantin Brancusi, a famous Romanian sculptor, is known throughout the world for his exceptional works that marked an entire era. One of the distinguishing features of his work is his obsession with white and light, which changed our perception of sculpture and art in general. Brancusi integrated this obsession into his works and reinterpreted the concept of form and light in sculpture.

As part of the cultural program of Timisoara 2023 – European Capital of Culture, the largest exhibition in Central and Eastern Europe dedicated to the work of the great artist is being prepared. This impressive exhibition will be held at the National Art Museum in Timisoara and will be open from 30 September 2023 to 28 January 2024. The event is funded by Timișoara County Council, with Banca Transilvania as its main partner.

Brancusi was born in 1876 in Hobbit, Romania, but spent most of his life in Paris, where he developed and laid the foundations of his artistic career. “In 1907, he received the position of assistant in the workshop of Auguste Rodin. Leaving the master’s workshop prompted him to forge his own path. Brancusi turned to the source – carved right in the stone. In 1908, this was a radical approach.” says Francesca Gavin.

In his workshop on Montparnasse, Brancusi created magnificent works that captivated the art world of the time and continued to inspire generations of artists. One of the defining aspects of his work was his obsessive use of white and light.

“Sleeping Muse”

For Brancusi, white was not just a color, but a way of conveying the essence and purity of form. He created sculptures from marble and white stone that radiated an inner light, transforming raw materials into works of art that seemed almost luminous. One of her most famous works, The Sleeping Muse (1910), is a great example of the work that resulted from this change. Her facial features are presented in simplicity, like an egg. Stonework, later cast in bronze, smooth and shiny, it redefined the concept of beauty,” explains Francesca Gavin.

“kiss”

Another vivid example of Brancusi’s obsession with white and light is sculpture “The Kiss.” This work represents two lovers, but Brancusi abandoned superficial details and reduced them to simple, almost abstract forms carved in white stone. “The first version of Brancusi’s work “The Kiss” marked a significant change in the emotional realism of the famous Auguste Rodin, who considered the the topic itself. Its composition, texture, and material underscore Brancusi’s fascination with both the forms and spirituality of African, Assyrian, and Egyptian art. His attraction to these influences led him to create “The Kiss” using the technique of direct sculpture, a method that was becoming popular in France at the time due to the interest in “primitive” methods. These sculptures mark his transition to simplified forms, as well as his interest in contrasting textures, both key aspects of his later work,” as Rachel Hershman recalled.

“Heaven on earth”

Light and an obsession with white became central to Brancusi’s workshop. His studio, described by Peggy Guggenheim as “the closest thing to heaven on earth,” was a space dominated by white and light colors. “There was no furniture. Instead, Brancusi made a table out of white plaster and used hollow beams covered with cushions as living rooms. The center of attention was always his changing groups of sculptures. He wore only white clothes to match his surroundings and his work,” observed Francesca Gavin.

In addition to using white and light in his sculptures, Brancusi also explored other ways to add dimension and depth to his work. Francesca Gavin says that “his objects were hand-polished by the artist to an obsessive level. They seemed fluid, changeable, fluid. There is something timeless in his things – inspiration from history and a look into the future. He was fascinated by aviation and used rotary electric motors to make his bronze works catch the light and appear to be moving. He also began experimenting with photography in 1905, documenting his sculptures that same year. There are 560 negatives and 1,250 copies in his archives.”

Brancusi’s work was not only a visual experience, but also a spiritual and sensitive one. “Brancusi often quoted a phrase from the French poet Nicolas Boisaleau to justify his approach: ‘rien n’est beau que la vrai’ – ‘there is nothing more beautiful than what is true,'” according to Francesca Gavin. The use of white and light was an integral part of his approach, adding depth, substance and connection to each work. His obsession with white and light was not only a characteristic of his work, but also a way of bringing beauty and truth into art.

The European Capital of Culture is an honorary title awarded by the European Parliament for one year to a city or several cities after evaluating the candidacies of settlements participating in the competition. This contributes to the cultural, social and economic development of some localities and regions of Europe. In 2023, three cities became the cultural capitals of Europe – in addition to Timisoara, they are Elefsina (Greece) and Veszprém-Balaton (Hungary).

Banca Transilvania is the main partner Cultural capital of Europe 2023 – Timisoara and the main partner of the exhibition Constantin Brancusi: Romanian sources and universal perspectives.

Article supported by Banca Transilvania