Another room, spacious and dimly lit, is presided over by the large door of an Olténie farm accompanied by various craft utensils that evoke the wood work of Brancusi and its Romanian sources. It is surrounded by the author’s initial works, along with those of other artists and styles that explain his roots: Cycladic pieces, Iberian figurines or a child’s head by Rodin that emerges from a piece of marble.
Here highlights the series Child’s Heads by Brancusi in which, one by one, he refined the faces through eyes, nose, lips and neck; until they are reduced to an egg or a candlula They are metaphors of birth, as well as the renewal of forms.
The rupture with the usual tradition of using a natural model to reinvent the figure from memory, it manifested itself very early in the author’s treatment of the portrait. The mentioned sleeping muse either Mademoiselle Pogany They represented Baroness Frachon and Margit Pogany respectively, but their resemblance is already distant, perhaps because the sculptor tried to go further.to of his features, searching for onebstracciinnovative.
In 1920 his Princess withdrawal of Saltónn of the Independents for being considered pornographic, a scandal that was a hard blow for him. From then on, he decided to only exhibit in his atellierwhich became a place for innovation and the search for the best way to display sculptures on pedestals produced expressly for each piece.
