A structural analysis of constantin Brancusi’s stone sculpture
department or school: Arts, Faculty of
department or school: Fine Arts, Department of, Department of
data provider: DSpace
degree campus: UBCV
creator: Dawn, Leslie Allan
issued: 2010-04-01T22:29:04Z
issued: 1982
related degree: Master of Arts - MA
degree grantor: University of British Columbia
description: It has long been recognized by Sidney Geist and others that Constantin Brancusi's stone work, after 1907, forms a coherent totality in which each component depends on its relationship to the whole for its significance; in short, the oeuvre comprises a rigorous sculptural language. Up to the present, however, formalist approaches have proven insufficient for decodifying the clear design which can be intuited in the language. The resultant confusion can be attributed to the fact that formalism takes only half of the work's significance into account. Yet Brancusi's careful selection of titles, and his insistence on content, indicate that the latter plays an equal part in establishing the relationships between his sculptures. A structuralist analysis which treats his work as a system composed of signs and which takes both form (signifier) and content (signified) into account, and relates each piece to the whole, seems imperative. Various features of Brancusi's work, including his mythological themes (Prometheus, the Danaids) and transformations (Leda, Maiastra), as well as the presence of parallel yet opposing works (George, Princess Xj and reconciled dualities (the Kiss), correspond to Levi-Strauss' observations on the features of "mythic" thought or "concrete" logic. Thus Levi-Strauss' structuralist methodology was chosen from those available for analyzing Brancusi's work. This choice is strengthened by Brancusi's primitive background in Romania, his techniques (la taille directe), and his affiliation with the French avant garde when it was drawing inspiration from primitive art. It is the thesis of this study that Brancusi was a "primitive thinker" working in Paris, and that the structure of his sculptural language functions like a primitive mythology. Language systems do not depend solely, however, on their internal relationships for their significance; they draw much of it from their social context. It is thus necessary to reconstruct the historical milieu from whi…
aggregated CHO: https://circle.library.ubc.ca/rest/handle/2429/23284
note: A STRUCTURAL ANALYSIS OF CONSTANTIN BRANCUSI'S STONE SCULPTURE by LESLIE ALLAN DAWN B.A. , M.A., Universi ty of V i c to r i a A THESIS SUBMITTED IN PARTIAL FULFILLMENT OF THE REQUIREMENTS FOR THE DEGREE OF MASTER OF ARTS in the Department of Art History We accept th is thesis as conforming to the required standard © LESLIE ALLAN DAWN UNIVERSITY OF BRITISH COLUMBIA October 1982 All rights reserved. This thesis may not be reproduced in whole or in part3 by mimeograph or other means3 without the permission of the author. In presenting t h i s thesis i n p a r t i a l f u l f i l m e n t of the requirements for an advanced degree at the University of B r i t i s h Columbia, I agree that the Library s h a l l make i t f r e e l y available for reference and study. I further agree that permission for extensive copying of t h i s thesis for scholarly purposes may be granted by the head of my department or by his or her representatives. It i s understood that copying or publication of t h i s thesis for f i n a n c i a l gain s h a l l not be allowed without my written permission. Department of Ws>TQg.»? CF E)g.T The University of B r i t i s h Columbia 1956 Main Mall Vancouver, Canada V6T 1Y3 Date (3/81) i i ABSTRACT It has long been recognized by Sidney Geist and others that Constantin Brancusi 's stone work, af ter 1907, forms a coherent t o t a l i t y in which each component depends on i t s re lat ionship to the whole for i t s s ign i f i cance ; in shor t , the oeuvre comprises a rigorous sculptural language. Up to the present, however, formal is t approaches have proven i nsu f f i c i en t for decodifying the c lear design which can be in tu i ted in the language. The resul tant confusion can be at t r ibuted to the fact that formalism takes only hal f of the work's s ign i f icance into account. Yet Brancusi 's careful se lect ion of t i t l e s , and his insistence on content, indicate that the l a t t e r plays an equal part in estab l ish ing the re l a -t io…
has type: Thesis/Dissertation
is shown at: 10.14288/1.0095035
language: eng
degree discipline: Art History (Critical Curatorial Studies)
provider: Vancouver : University of British Columbia Library
publisher: University of British Columbia
rights: For non-commercial purposes only, such as research, private study and education. Additional conditions apply, see Terms of Use https://open.library.ubc.ca/terms_of_use.
scholar level: Graduate
type: Text
identifier URI: http://hdl.handle.net/2429/23284