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#constantin brâncusi
nobrashfestivity · 2 days
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Constantin Brâncusi Two Penguins, 1911-1914 Marble
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:)
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MWW Artwork of the Day (4/6/22) Constantin Brâncusi (Romanian, 1876-1957) Danaïde (c. 1918) Bronze sculpture on limestone base, 27.9 x 17.1 x 21 cm. The Tate Gallery, London
This is a stylised portrait of Margit Pogany, a Hungarian art student Brancusi met in Paris in 1910. He made a marble head of her from memory, then invited her to his studio. He was delighted when she recognised it. This is one of several bronzes based on the marble. Photographs show that Miss Pogany had a round face with large eyes and strong eyebrows, and wore her hair in a smooth chignon. Brâncusi has refined her features down to the very purest form. The abstract curves of this piece, and of the other 'Danaïdes', can be seen as anticipating by some years, aspects of the classicising Art Deco style of the 1920s.
For more Brâncusi sculpture, see this MWW Special Collection: https://www.facebook.com/media/set/?vanity=TheMuseumWithoutWalls&set=a.371960352909340
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joeinct · 1 year
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Lizica Codréanu interprétant les Gymnopédies d'Erik Satie dans l'atelier de Brâncusi, Photo by Constantin Brâncuşi, c. 1922
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atlasphoebus · 9 months
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Karen Bachmann Karen Bachmann is a master jeweller and professor at Pratt Institute, as well as being an expert on Victorian ornamental hair work and mourning jewellery. After receiving her Bachelors in Fine Arts with Honours for sculpture and jewellery at Pratt Institute, she went on to work for Tiffany & Co. as a custom order jeweller. She completed her Master in Arts in 2012, majoring in Art History, Criticism and Conservation. She currently is a visiting professor and lecturer at both the Pratt Institute as well as the Fashion Institute of Technology. Bachmann also has been an artist in residence at the Morbid Anatomy Museum in Brooklyn where she still retails her jewellery pieces as well as conducts online lectures and classes surrounding her specialist areas in Victorian hair work and Memento Mori. 
Bachmann's jewellery work is very multifaceted and takes on many different stylistic forms. Her jewellery made and sold on her website under her business name is heavily aesthetically inspired by sculptors such as Constantin Brâncusi, Isamu Noguchi and Eva Hesse, which is very clear in her uncomplicated, bulbous, biomorphic designs and material use. The work made for the Morbid Anatomy store however begins the route to the Memento Mori and the world of life and death. Featuring pieces such as the Colon Collection and the Scarab Beetle Collection, these works draw more deeply into ideas and execution's from my previous years work leading into this year. Her series of organs were similarly inspired by ex-votos or votive jewellery pieces, made as offerings to a saint or divinity to fulfil a vow or as an inspiration for healing. As said on the store page, "They are intended to be worn “for protection and appreciation of life.”" which in ways differs and aligns with my intentions for my cast organs in my sculpture Reliquary but holds the same connection of biological essentials that maintain us and the Memento Amare (remember to love). For her series of beetles, she focuses on the micro rather than the macro, as "an ode to the importance of the small insects that maintain the foundation of our world.", something that I also draw heavy inspiration from especially leading into this year as the ideas of the parallel universes existing not as outer intangible portals to different dimensions, but as active and visible as we look deeper and deeper into smaller and smaller organisms and microbial life. The strength of these ancient iconographies and their historical and mythological connotations, brought into the modern lense and context of liminal space, trans identity, Memento Mori and Mourning jewellery are the areas in which I aim to push these alignments between our practices and motivations. For the entire month of May, I will be attending a three hour online class once a week as part of Bachmann's Victorian Hairwork: Mourning, Memory Object and Craft classes through the Morbid Anatomy website platform where we will be exploring the history and ties to the reliquary of Victorian hairwork pieces, as well as making our own piece. This will serve as a way to not only have the opportunity to learn directly from her, but also as a research tool for skills that I aim to bring into this year with my own jewellery making.
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rcvandenboogaard · 11 months
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Freud en de psychoanalyse, nog steeds onder vuur
U zag het meteen natuurlijk: dit bronzen sculptuur uit 1916 verbeeldt ‘een vrouw die in de spiegel kijkt’. De Roemeense kunstenaar Constantin Brâncusi maakte het in opdracht van Marie Bonaparte, achternicht van keizer Napoleon Bonaparte en vriendin en volgeling van Sigmund Freud. Brâncusi ergerde zich nogal aan haar en hield niet van portretten, maar Marie Bonaparte was een dame tegen wie je…
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catsynth-express · 1 year
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Constantin Brâncusi sculpteres against architectural lines. #moma (at MoMA The Museum of Modern Art) https://www.instagram.com/p/CnC1Dzdrc6_/?igshid=NGJjMDIxMWI=
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the-style-press · 2 years
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Constantin Brâncusi 
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mybeingthere · 3 years
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William Turnbull (1922 – 2012, Scottish)
"The career of the artist William Turnbull, who has died aged 90, practically constituted a history of 20th-century sculpture. From Constantin Brâncusi and Alberto Giacometti to Anthony Caro and David Smith, from the typical modernist immersion in tribal art and idols to minimalism, he experienced and expressed it all, yet he absorbed the influences and remade them, so that the work he produced could never be mistaken for anything but his. He was one of the most authoritative, expressive and subtle artists of his generation."
https://www.theguardian.com/.../2012/nov/18/william-turnbull
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joyfouls · 3 years
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some of my favourite pieces at the Philadelphia Museum of Art
Princess X // Constantin Brâncusi
Portrait of a Roman Lady (La Nanna) // Sir Frederic Leighton
Fountain // Marcel Duchamp
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dyls-art-docs · 2 years
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If Isamu Noguchi (1904-88) hadn’t been a designer, his work as a sculptor would mostly be forgettable. His work shows both a beautiful sensitivity to materials and an informed awareness of other artists of his time – Brâncusi (for whom Noguchi briefly worked), Picasso, Duchamp, Calder, Max Ernst. It is polished and well composed. But his sculptures lack urgency. They don’t make you think that they were a matter of life or death to their creator. Noguchi’s abilities as a sculptor makes his lack of real design inventiveness more excusable. He wasn’t a pioneer of new production techniques in the ways that Charles and Ray Eames were, nor did he grapple with the challenges of mass manufacture. His most famous pieces were lampshades, in which traditional Japanese crafts were adapted to make both perfect spheres and the freeform shapes of mid-century Western abstract art. Also a coffee table that became, through no fault of Noguchi, an interior design cliche – a three-edged sheet of glass, curved at the corners, that rests almost casually on a wooden support that looks like a scaled-down monumental sculpture.
The shapes of these domestic objects would have been less convincing and more arbitrary if he hadn’t explored them first in sculpture. You get pieces such as the Akari BB3-33S light of 1952-4, whose paper and bamboo shade recalls the horns of a Picasso minotaur, and is fixed on top of a slender metal pole that rises from a dense metal base. There might be something of a Giacometti standing figure in its precarious skinniness. There’s a hint of the weird versions of nature that Noguchi and other artists found in a universe reconceived by Albert Einstein. The light certainly explores his fascination with weight and lightness. He designed play structures for children and water features and gardens for World Fairs and corporate headquarters. He flourished in a space made possible by postwar abstract art. Because it was nonspecific in its meanings but communicated a general aura of enlightenment and higher things, it could equally well serve the international institutions and corporations and museums who commissioned his work. His pronouncements could be bland, using terms such as ‘nature’, ‘mankind’ and ‘space’ somewhat loosely and interchangeably.
So, if you like hanging out in high-end lighting shops, the Barbican art gallery is the best place for you to visit right now. Paper lampshades are everywhere, from tall wavy ones on the floor to deluxe versions of the spherical lantern shades you can buy anywhere. Beautifully spaced, warm with glowing light, artfully ornamented with objects in stone, ceramics and bronze; this survey of the Japanese-American sculptor Isamu Noguchi is a must for design buffs, and a total bore for anyone in search of real art. There is no punch to it, no emotional or psychic energy, just a gentle progress of clever but harmless creations. Noguchi’s smooth creations failed to occupy my mind beyond my presence in the rooms they were placed. It was as if they had no reality at all.
In films that you can watch while sitting on his own furniture, Noguchi comes across as a nice and creative man. In one clip he sits on a piece of playground equipment he designed and chats to his mentor, the architect Buckminster Fuller. Playgrounds were a lifelong interest, a utopian social space that satisfied Noguchi’s belief in the life-enhancing power of sculpture. Born in the US in 1904, but raised partly in Japan, he trained in cabinet-making before seeking out the pioneer of abstraction, Constantin Brâncuși, in his Paris studio and beginning his own art career in 1920s New York. Brâncuși’s radically simplified forms inspired him. Then Fuller showed him how abstract art can serve society. And that’s the trajectory you can see for yourself on the gallery’s upper floor where his development is neatly narrated. Noguchi’s first sculptures are manifestly Brâncuși-like, such as his 1928 piece, Globular, which echoes the Paris master’s curvy, art deco metallic allure. And this sets the pattern, for Noguchi was an all too faithful pupil of the pioneer modernists. In this, he is typical of artists in New York and London in the 1920s and 30s – the real edge of modern art was in continental Europe. And despite my hopes, Noguchi fails to brilliantly blend Western and Japanese ideas in a global modernism all of his own. I think that’s what the curators want to believe he’s doing. But instead, he emerges as the New York equivalent of Henry Moore or Ben Nicholson, producing beautiful but completely tame abstractions derived in a muted way from hardcore European originals. Thus, a roomful of biomorphic, surrealistic figures are timid imitations of much more disturbing sculptures by Picasso and Giacometti.
What struck me most is how nice these objects would look in a smart luxury house or apartment. Noguchi makes you see the history of modern art in a new, and disappointing, way. We love to picture modernism in the 20th century as a story of revolution and resistance, from the Dadaists defying the first world war to Picasso chucking paint into fascism’s face. But Noguchi reveals the cosier side of modern art: producing a new kind of abstract elegance to decorate the homes of the rich. Some will see his readiness to move from pure to applied art, his facility for beautifying a room, as radical. That’s probably why this exhibition is on now: because Noguchi can be seen as a “utopian” and “progressive” artist who sought to give sculpture a social function. But was the Bakelite baby monitor Noguchi designed in 1937 really radical? I can’t imagine the starved post-Great Depression Americans were hungry for stylish tech. And they probably didn’t need the streamlined car he modelled for Fuller, either.
In fairness, it is not as if Noguchi ignored the gravity of the times in which he lived. His Death (Lynched Figure)of 1934 is a protest against the racist murders of black people. As the son of a Japanese father and an Irish American mother, he felt the conflicts of the 20th century more than most. In 1942, he voluntarily interned himself in a bleak camp in the 120-degree heat of Arizona, where west coast Japanese Americans were forcibly relocated, even though New Yorkers like himself were exempt. The World is a Foxhole (I Am a Foxhole) of 1942-43 strives to communicate the hope and despair of a dug-in soldier, with a flag flying from a spindly pole over a black hollowed-out base. After the war he visited Hiroshima, where he proposed a memorial to the victims of the atomic bomb. Yet he found it hard to translate his anger and fear into his objects. His indulgence in shape and surface won – The World is a Foxhole ends up looking like an engagingly wacky golf-course feature. Or he would trip over his desire to be serious, and produce his worst work, ponderous and mawkish. Sometimes you read a caption and wish you hadn’t, as the object in question gave more pleasure before you knew what message it was meant to impart.
Noguchi’s heart was in the right place: he campaigned against racism and fascism in the 30s. But his love of a nice shape in a well-structured space made him helplessly aesthetic and high-class. His works didn’t communicate anger or pain. Out of his experience of an Arizona internment camp for Japanese Americans during the second world war came his 1945 wall relief My Arizona with a jolly red plastic panel over part of its ridged yet harmonious white surface. It would be great in a high-end kitchen. It certainly isn’t anxious. Even his design for a memorial to the Hiroshima dead strikes me as too graceful. After the war, he spent more time in Japan, and hit on his most ingenious connection of traditions when he worked with a lantern-making firm to create his Akari light sculptures. They’re probably his biggest legacy but a design classic is not the same thing as a great work of art. I was more interested the rugged columns of the Barbican, which at least have some brutal beauty.
Much of Noguchi’s appeal lies in his in-betweenness; his ability to move between sculpture, furniture and gardens, not to mention stage sets for the ballets of Martha Graham. If you look only at any one aspect you lose something of the whole. Among the pleasures of the Barbican show are the views you get into and across its central hall, populated with a menagerie of curious forms, an array of asteroids and UFOs as heavy as granite and as light as paper. Some are art, some are design, not that Noguchi was too concerned with the difference. “I am not a designer,” he himself said. “All my work, tables as well as sculptures, are conceived as fundamental problems of form.” This is a touch sententious. In my opinion, someone who designs furniture is a designer, not an artist. Despite his attempts at portraying the horrors of war and nuclear catastrophe, in the end the thing that unites his output is not any profound meaning but the joy of making.
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themuseumwithoutwalls · 5 months
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MWW Artwork of the Day (10/25/23) Constantin Brâncusi (Romanian, 1876-1957) Sleeping Muse (1910) Bronze sculpture, 17.1 x 24.1 x 15.2 cm. The Metropolitan Museum of Art, New York (Alfred Stieglitz Collection)
Upon arriving in Paris from Romania in 1904, Constantin Brâncusi quickly rejected the prevailing theatricality and narrative detail of master sculptor Auguste Rodin. Instead of modeling in clay, and inspired by non-Western art, he began to carve directly into stone, the material chosen for his first version of Sleeping Muse. Here, the languor of the ovoid shape responding to gravity suggests the heaviness of sleep. The sleeping head, one of Brancusi's first thematic cycles, occupied the artist for almost twenty years. This bronze is one of four cast in 1910 from a marble of the previous year for which Baroness Renée Irana Franchon was the model.
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aic-american · 3 years
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Pitcher (one of a set), Eugene Deutch, 1940, Art Institute of Chicago: American Art
Born in Hungary, Eugene Deutch trained as a ceramist and spent time in France as a student of the modernist sculptor Constantin Brâncusi. After settling in Chicago in 1928, Deutch established himself as a studio potter and teacher. For this set of organically shaped pitchers, Deutch replaced applied handles, which he believed were prone to breaking, with pinched-in sides that serve as grasping points for the user. This innovation reflects Deutch’s concern for simplicity, functionality, and the interaction of form with everyday living, key principles of modernist design. Gift of Dorothy Rosenthal Size: 8.9 × 10.8 cm (3 1/2 × 4 1/4 in.) Medium: Stoneware
https://www.artic.edu/artworks/120139/
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addictedtoeddie · 3 years
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The full Esquire Spain interview translated from Spanish:  
Eddie Redmayne trial: guilty of being the most talented (and stylish) actor of his generation
The Oscar winner talks about what it means to premiere a film with Aaron Sorkin (The Chicago 7th Trial on Netflix) and filming the new part of the most famous saga of all time under the watchful eye of its author, J.K. Rowling.
By Alba Díaz (text) / JUANKR (photos and video) / Álvaro de Juan (styling) 10/23/2020  
At the Kettle’s Yard Gallery in Cambridge, stands alone and leaning on a piano Prometheus, a marble head made by Constantin Brâncusi, and the only piece of art that Eddie Redmayne (London, 1982) would save from possible massive destruction. He tells me about it as he leaves the filming set of the third installment of Fantastic Beasts in the early days of an autumn that, we suspect, we will never forget. It begins to get dark as the actor nods seriously: "I promise to do my best in this interview."
Eddie Redmayne made himself in the theater despite some voices warning him that he could not survive in it. "Many people were in charge to tell me that it would never work, that only extraordinary cases make it and that I would not be able to live from this professionally." Even his father came home one day with a list of statistics on unemployed young actors. Redmayne, who is extremely modest, polite and funny, adds: “But I enjoyed theater so much that I got to the point of thinking that if I could only do one play a year for the rest of my life… I would do it. And that would fill me completely.
Spoiler: since then until today he has participated in many more. He set his first foot in the industry when he debuted at the Shakespeare’s Globe Theater and won over critics and audiences. He then landed his first major role in My Week with Marilyn opposite Michelle Williams. And then came one of the roles of his life, the character he wanted to become an actor for, Marius. With him he sang, led a revolution and broke Cosette's heart in Les Miserables. “I found out about the Les Misérables auditions when I was shooting a movie in Illinois. Dressed like a cowboy. I picked up the iPhone and videotaped myself singing the Marius song. I always wanted to be him ”.
Now Redmayne is an Oscar winner - thanks to his portrayal of Stephen Hawking in The Theory of Everything - and the protagonist of one of the most important sagas in history, Fantastic Beasts. He plays the magizoologist Newt Scamander in it. When I ask him what it means to him to be the protagonist of a magical world that is so important to millions of people, Eddie sighs and takes a few seconds to answer. “I have always loved the Harry Potter universe. Some people like The Lord of the Rings or Star Wars ... But, for me, the idea that there is a magical world that happens right in front of you, that happens without going any further on the streets of London, that. .. That exploded my imagination in another way.
During the quarantine, J. K. Rowling, who has been in charge of the script of the film, sparked a controversy through a series of tweets about transgender women. Redmayne assures that he does not agree with these statements but that it does not approve of the attacks of some people through social networks. The actor was one of the first to position himself against Rowling alongside Daniel Radcliffe, Emma Watson and other protagonists of her films. "Trans women are women, trans men are men, and non-binary identities are valid."
After having spent a while talking, Redmayne confesses to me that he has never been a big dreamer not to maintain certain aspirations that ended up disappointing him. So he has always kept a handful of dreams to himself. One of them was fulfilled just a few weeks ago with the premiere of The Trial of the Chicago 7, a film written and directed by Aaron Sorkin that can already be seen on Netflix and in some - few - cinemas. “I was on vacation with my wife in Morocco and the script arrived. I think I called my agent before I even read it and said yes, I would. She probably thought the obvious, that I'm stupid. After that, of course I read the script, which is about a specific moment in history that I knew very little about. I found it exciting and a very relevant drama in today's times. "
And it is that having a script by Aaron Sorkin in your hands is no small thing. Eddie Redmayne has been a fan of his work ever since he saw The West Wing of the White House. “His scripts have delicious language and dialogue. As an actor, it's fun to play characters that are much smarter than you are in real life. That virtuosity is hard to come by. I really hope that audiences enjoy this movie and feel that there is always hope. " He remembers that since he released The Theory of Everything he has recorded, to a large extent, English period dramas, “and although the new Aaron Sorkin is not strictly contemporary,” says Redmayne, “to be able to wear jeans and shirts and sweaters instead of so much tweed is great ”.
Besides acting, art was the only thing the actor was interested in, so he ended up studying Art History at Cambridge University. “My parents are quite traditional and when I told them I wanted to act they gave me free rein but on the condition that I study a career. And I'm very grateful for that because ... Look, beyond that, when I play a real character I usually go to the National Portrait Gallery in London quite often. There I lock myself up. Now, for Sorkin's film, I went through a lot of photographs and videotapes. Art helps me to be more creative, to get into paper ”. If he were not an actor, he would be, he says decidedly, a historian or perhaps a curator. "Although I think he would be a very bad art curator."
Against all logic, Eddie Redmayne is color blind. But there is a color that you can distinguish anywhere and on any surface: klein blue. He wrote his thesis on the French artist Yves Klein and the only shade of blue he used in his works. He wrote up to 30,000 words talking about that color with which he became obsessed. “It is surprising that a color can be so emotional. One can only hope to achieve that intensity in acting. "
Like his taste for art, which encompasses the refined and compact, Redmayne seems to be in the same balance when it comes to the roles he chooses. When I ask him what aspects a character he wants to play should have, he takes a few seconds again before answering: “I wish I had a more ingenious answer but I will tell you that I know when my belly hurts. It's that feeling that I trust. In my mind I transport him to imagine myself playing that character. When I read a script I have to really enjoy it. You never fully regret those instincts. It's like when you connect with something emotionally. "
So we come to the conclusion that all his characters have some traits in common. "You know what? I never look back, and this is something personal, but I do believe that there is a parallel between Marius in Les Misérables trying to be a revolutionary, someone who is quite prone to being distracted by love but at the same time is willing to die for his cause, and Tom Hayden from The Chicago Trial of the 7 who was a man who had integrity and was passionate and fought for the things he believed in. So I suppose there may also be similarities between a young Stephen Hawking and Newt Scamander. There are traits in common in all of them that I don't really know where they come from ”.
When we talk about the year we are living in, in which it is increasingly difficult to find hope, we both let out a nervous laugh. "There must be," Redmayne says. “There is something very nice that Tom Hayden, the character I play in Sorkin's film, said to his former wife, actress Jane Fonda, just the day before she passed away. He told her that watching people die for their beliefs changed his life forever. In that sense, I also think about what Kennedy Jr. wrote about how democracy is messy, tough and never easy ... As is believing in something to fight for. I look at history and how they were willing to live their lives with that integrity to change the world and I realize that somehow that spirit still remains with us. " We fell silent thinking about it. "There must be hope."
I tell him about my love for Nick Cave's blog, The Red Hand, and one of the posts that I have liked the most in recent weeks. In it, the singer affirms that his response to a crisis has always been to create, an impulse that has saved him many times. For Redmayne there are two activities that can silence noise: drawing and playing the piano. “When you play the piano your concentration is so consumed by trying to hit that note that you can't think of anything else. Similarly, when you draw something, the focus is between the paper and what you are trying to recreate ... There I try to calm my mind.
Before saying goodbye, I drop a question that I thought I knew the answer to, but failed. What work of art would you save from mass destruction? "How difficult! I could name my favorite artists but still couldn't choose a work. Only one piece? Let me think. I am very obsessed with Yves Klein, but I would stick with a work by Brancusi. There is a sculpture of him, a small head called Prometheus, in Cambridge's Kettle’s Yard, on a dark mahogany piano. The truth is that I find it very ... beautiful ”.
Before leaving, he confesses to me - with a childish and slow voice - that he would like to direct something one day. We said goodbye, saying that we will talk about his next project. Next, the first thing I do is open the Google search engine. "P-r-o-m-e-t-h-e-u-s". Although Eddie Redmayne has trouble distinguishing violet from blue, he doesn't have them when choosing a good piece. He's right, that work deserves to be saved.
* This article appears in the November 2020 issue of Esquire magazine
Source: esquire.com/es/actualidad/cine/a34434114/eddie-redmayne-juicio-7-chicago-netflix-entrevista/
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primordialfather · 3 years
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The Kiss - Constantin Brâncusi
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arthatred · 4 years
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CONSTANTIN BRÂNCUSI.
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