The head as subject matter in sculpture
by Lewis Daniel Acker
A thesis submitted to the Graduate Faculty in partial fulfillment of the requirements for the degree of
MASTER OF APPLIED ART
Montana State University
© Copyright by Lewis Daniel Acker (1965)
Abstract:
The purpose of this thesis is to come to a fuller and clearer understanding of my own position in
relationship to the most prominent subject matter of my work - the human head.
I hope to accomplish this by two means: 1. The study of the feelings of a variety of master sculptors
towards the subject of the head; 2. The writing of my own personal convictions concerning my
philosophy of sculpture in general and the place of the head as subject matter in my own work.
There is only one specific conclusion involved in this paper besides the hope that it will give me a
better understanding of myself and my work and perhaps provide me with more intelligent questions.
The single conclusion is that in spite of the wide variety of sculptors discussed they have one thing in
common - a background built on the study of the human figure. This study is missing in much of
today's art. Perhaps a new outlook towards the examination and investigation of the figure can provide
a needed revitalization and direction for art on all levels. THE HEAD 'AS. SUBJECT MATTER IN SCULPTURE
by,
LEWIS DANIEL- ACKER, JR .
A t h e s i s s u b m i t t e d to. t h e G r a d u a t e F a c u l t y i n p a r t i a l
f u l f i l l m e n t o f th e r e q u ire m e n ts f o r the d e g re e
of
MASTER OF APPLIED ART
A p p ro v e d :
H e a d , M a jo r D e p a r tm e n t
C hai m a n ' ,■ E xam ini n g Commi t t e e
DVan, C o l l e g e o f G r a d u a te S t u d i e s
MONTANA STATE UNIVERSITY
Bozeman, M ontana
A u g u s t , 1965
/V31%
Ac Sfe
iii
ACKNOWLEDGMENTS
I w i s h t o e x p r e s s my g r a t i t u d e and a p p r e c i a t i o n t o t h e f o l l o w i n g
p e o p l e f o r t h e i r h e l p i n t h e f o r m u l a t i o n a n d d e v e lo p m e n t o f t h i s
th esis:
Mr. A l f r e d R. K r a k u s i n , Mr. H enry D i S p i r i t o , my w i f e , an d Mr. G eorge
Conkey.
I a l s o w i s h t o t h a n k t h e s e p u b l i s h e r s f o r g r a n t i n g me p e r m i s s i o n to
reproduce t h e i r p h o to g rap h s:
The New York T im e s ; Tudor P u b l i s h i n g Com­
p a n y , New Y o rk ; U n i v e r s e B o o k s, I n c . , New Y o rk ; A le c T i r a n t i , L t d . , London;
The M e t r o p o l i t a n Museum o f A r t , New Y o rk ; Thames and H u d s o n , L t d . , L o n d o n .
iv
TABLE OF CONTENTS
Page
T i t l e Page .........................................................................■.............................................
V ita
. . . .
..................................................... ...............................................................................................
A c k n o w l e d g m e n t ...................................................................
L i s t o f ;F i g u r e s - ................................................ ....
A b stract
i
.
ii
. ............................. ....................... i i i
............................. ............................
v
. . ............................................................... .... ............................ ....
In tro d u c tio n
vi
.......................................................... .... ............................ .... ............................
v ii.
STATEMENT OF PHILOSOPHY - SCULPTURE IN GENERAL . . . . . . . . . . . .
I
ATTITUDES TOWARDS THE HEAD AS SUBJECT MATTER
A u g u s te R o d i n ............................. .... ...............................................
A lb e rto G ia c o m e tti
..................................
..............................................................
6
13
H enry Moore . . . ....................................... ' . ................................................................21
>
C o n s t a n t l y B r a n c u s i ....................................... .... ........................ ....
30
AUTHOR'S ATTITUDES TOWARDS THE HEAD AND THEIR A P P L I C A T IO N ........................
37
THE DEVELOPMENT OF-TWO STONES
40
. . . . . . .
.....................................................
CONCLUSIONS...........................................................................................
.
. ..................................52
L i t e r a t u r e C o n s u l t e d .................... ..........................................................
. . . . . . .
53
V
LIST;OF FIGURES
F ig u re
Page•
AUGUSTE RODIN
1.
"Madame X " ..................................................... ■.......................... ..
2.
"Monument t o B a l z a c " ... . . ...............................................................
8
11
ALBERTO GIACOMETTI
3;
"L arge B u s t:
4.
"S m all B u st"
5.
"A n n e tte "
T r e n c h a n t Head"
.................................................
. . . . . . . . . . . . .
.............................
16
. . . .
............................. ... ................................................
18
20
HENRY MOORE
6.
"H ead" ...................................................................................................
22
7.
"H e lm e t Head #2" .......................................................................................
8.
" M e m o ria l F i g u r e "
...................................................................................................
9.
" M o th e r an d C h i l d "
. . . •....................................................................................... 29
25
28
CONSTANTIN BRANCUSI
10.
" S l e e p i n g Muse"
(1 st v ersio n )
. . . . .
..................................
. .
11 .
" S l e e p i n g M u s e " ...................................................................................................
12.
"The B lo n d e N e g r e s s " ............................................................................. ....
. .
31
32
34
vi
ABSTRACT
The p u r p o s e o f t h i s t h e s i s i s t o come t o a f u l l e r an d c l e a r e r u n d e r ­
s t a n d i n g o f my own p o s i t i o n i n r e l a t i o n s h i p t o t h e m o st p r o m i n e n t s u b j e c t
m a t t e r o f my w o rk - t h e human h e a d .
I h o p e t o a c c o m p l i s h t h i s by twp m e a n s :
1.
2.
The s t u d y o f t h e f e e l i n g s o f a v a r i e t y o f m a s t e r
s c u l p t o r s to w a rd s t h e s u b j e c t o f t h e h e a d ;
The w r i t i n g o f my own p e r s o n a l c o n v i c t i o n s co n ­
c e r n i n g my p h i l o s o p h y o f s c u l p t u r e i n g e n e r a l a n d
t h e p l a c e o f t h e h e a d as s u b j e c t m a t t e r i n my own
w ork.
T h e re i s o n l y one s p e c i f i c c o n c l u s i o n i n v o l v e d i n t h i s p a p e r b e s i d e s
t h e h o p e t h a t i t w i l l g i v e me a b e t t e r u n d e r s t a n d i n g o f m y s e l f a n d my work
an d p e r h a p s p r o v i d e me w i t h more i n t e l l i g e n t q u e s t i o n s .
The s i n g l e con­
c l u s i o n i s t h a t in. s p i t e o f t h e w id e v a r i e t y o f s c u l p t o r s d i s c u s s e d t h e y
h a v e one t h i n g i n common - a b a c k g r o u n d b u i l t on t h e s t u d y o f t h e human
fig u re .
T h is s t u d y i s m i s s i n g i n much o f t o d a y ' s a r t . P e r h a p s a new o u t ­
l o o k to w a r d s t h e e x a m i n a t i o n and i n v e s t i g a t i o n o f t h e f i g u r e can p r o v i d e
a n e e d e d r e v i t a l i z a t i o n an d d i r e c t i o n f o r a r t . on a l l l e v e l s .
y ii
INTRODUCTION
I do n o t c o n s i d e r m y s e l f a p r o f e s s i o n a l o r a m a t e u r a r t i s t * b u t a
stu d e n t a r t i s t .
Ap a s t u d e n t I h a v e s e e n o n l y g lim p s e p o f w h a t i s u n i ­
q u e l y m ine i n my w ork i n s t e a d o f t h e i n f l u e n c e o f a t e a c h e r o r m a s t e r .
I
am c u r i o u s t o f i n d o u t m ore a b o u t w h a t i s o r i g i n a l i n my w ork and hope- t o
d i s c o v e r a few i n d i c a t i o n s o f t h e s e t h i n g s i n t h i s
th e sis.,
As A ndre M a lr a u x w r o t e i n The P s y c h o l o g y ■o f A r t , " . . . w h a t c h a r a c t e r ­
i z e s th e c r e a t i v e p ro c e s s i s l e s s
e x p re s s io n th a n .h is a b i l i t y
t h e a b u n d a n c e o f t h e a r t i s t ’ s means o f
t o - d i s c e r n a c r o s s a c lo u d o f i m i t a t i o n , w h a t
i s h i s v e r y own; t o d i s c e r n i t a n d t o o r g a n i z e i t . "
STATEMENT OF PHILOSOPHY - SCULPTURE IN GENERAL
I n s c u l p t u r e as i n a l l a r t i t i s n e c e s s a r y f i r s t o f a l l f o r th e a r t i s t
t o h a v e s o m e t h in g t o s a y , a p o i n t o f v i e w , a p h i l o s o p h y o f l i f e .
W ith o u t
t h i s e l e m e n t h i s w ork becom es m ere e x e r c i s e s i n t e c h n i q u e , d e v o i d o f a l l
human s i g n i f i c a n c e .
Y e t t h e human f a c t o r i n a r t i s
t h e m o sf i m p o r t a n t :
D raw ing d i d n o t b e g i n w i t h t h e s k e t c h i n g o f a f i g u r e ,
b u t w i t h t h e h i e r o g y l p h ; i n d e e d i t seem s t h a t t h e d e s t i n y
o f t h e f i n e a r t s was u n i q u e l y t h i s :
to lo ad th e s ig n
w i t h a s much o f t h e human- e l e m e n t a s . i t .c o u l d b e a r . *
To me t h e m o st d i r e c t way o f . f i l l i n g my w ork w i t h t h e human e le m e n t
is
t o e x p r e s s m y s e l f t h r o u g h t h e human h e a d and f i g u r e .
a s a s o u r c e fro m w h ic h t o gro w .
can o n l y b e s u g g e s t e d h e r e .
I b e l i e v e i n them
The d i r e c t i o n t h i s d e v e lo p m e n t w i l l t a k e
B u t n o m a t t e r w h a t t h e d i r e c t i o n , I h a v e a lw a y s
b e l i e v e d t h a t i n t h e f u t u r e I w i l l b e f u r t h e r a l o n g t h a n I am t o d a y .
What makes s c u l p t u r e i t s e l f u n i q u e i s i t s
th re e d im e n sio n a lity .
can n o t o n l y b e s e e n , b u t a l s o t o u c h e d . a n d h e l d .
I t is a s o lid ,
It
tan g ib le
volum e t h a t becom es a p r e s e n c e w h ic h m u st b e c o n f r o n t e d r a t h e r t h a n m e r e l y
s o m e t h in g t o b e , v i e w e d .
S c u l p t u r e i s made t o b e t o u c h e d , f o r . t o u c h i n g
c o n f i r m s w h a t t h e e y e s e e s an d s c u l p t u r e i s a n a r t . o f c o n f i r m a t i o n .
s u b s ta n c e i s shape r a t h e r th an c o lo r ,
Its
c o n s o lid a tio n in s te a d of ex p an sio n ,
c o n c e n tra tio n in p la c e of e x p e rim e n ta tio n .
T h is i s n o t m e a n t t o i n f e r t h a t s c u l p t u r e s h o u l d b e n e a t , s l i c k , and
c o m p le te .
Such ,an i n t e r p r e t a t i o n w o u ld a l l y i t w i t h t h e a c a d e m i c , s c u l p t u r e
o f th e n i n e t e e n t h c e n tu r y .
s e n se , a stu d y .
On t h e c o n t r a r y , e a c h p i e c e o f w ork i s . , i n a
I t ; is " u n f i n i s h e d " n o t b e c a u s e i t i s n ’ t p o l i s h e d b u t b e -
■*-Andre M a lr a u x ; e x c e r p t s fro m The P s y c h o l o g y . o f A r t , D e p a r tm e n t o f F in e
A r t s , C o l g a t e U n i v e r s i t y , H a m i l t o n , New Y o rk , .1962, ( m im e o g r a p h e d ) .
2
c a u s e t h e p i e c e a s a w h o le i s n ' t c o m p l e t e , and n e v e r - c a n b e .
c o m p le te n e s s , i m p l i e s a f i n a l i t y
w h ic h n o t h i n g i s
F o r me,
t h a t produces s t e r i l e , p re c io u s s c u lp tu re in
l e f t open t o q u e s t i o n .
The s u b j e c t o f t h e human h e a d h o l d s t h e m o st i n t e r e s t f o r me and i s
an u n e n d in g s t u d y .
I can n e v e r . f i n d o u t ev ery th in g ^ ab o u t i t ,
G iac o m e tti
was o n c e t o l d t h a t e v e r y b o d y ,k n e w w h a t a h e a d was and r e p l i e d b y s a y i n g ,
"No, nobody k n o w s .
d isc o v e rin g i s
We c a n o n l y t r y t o d i s c o v e r . T h i s
t h e m o st i m p o r t a n t p a r t o f t h e w o r k .
th e end t h a t i s im p o r ta n t.
s e a r c h i n g and
I t is
th e m eans, n o t
I f one w orks p r o p e r l y t h e r e s u l t s
tak e care of
th e m se lv e s.
The s c u l p t o r ' s . m a t e r i a l h a s become more i m p o r t a n t i n t h i s
own p r e f e r e n c e , o r p e r h a p s p r e j u d i c e , i s
and e s p e c i a l l y s t o n e .
c e n tu ry .
My
f o r n a t u r a l m a t e r i a l s - c l a y , w ood,
N ot o n l y does , s t o n e p r o v i d e t h e g r e a t e s t c h a l l e n g e
f o r m e , b u t i t a l s o makes me a w a re o f t h e i m p o r t a n c e o f , m a n 's r e l a t i o n s h i p
t o n a t u r e as w e l l a s h i s r e l a t i o n s h i p w i t h h i m s e l f and o t h e r men.
a ttitu d e
t o w a r d s my medium i s one o f r e s p e c t .
My
I t i s more .than j u s t a t o o l
o r v e h i c l e , b u t i t d o es n o t d e t e r m i n e t h e fo rm o f . t h e s c u l p t u r e .
I im pose
my c o n c e p t i o n on t h e m a t e r i a l a n d a t t h e same tim e t r y t o w o rk w i t h i n th e
lim its of a p a r tic u la r sto n e .
As a f o u n d a t i o n f o r s c u l p t u r e d ra w in g i s i m p o r t a n t , a n d when t h e s u b ­
je c t is
t h e h e a d .and f i g u r e . , d r a w in g i s a n e c e s s i t y .
H enry M oore, "A m o d e r a te a b i l i t y
I n t h e w o rd s o f
to ' draw ' w i l l p a ss m u ste r i n a lan d sc a p e
o r a t r e e , b u t e v e n t h e u n t r a i n e d e y e i s .more c r i t i c a l o f t h e human f i g u r e
2
Jo h n K o b l e r , "The T orm ent o f A l b e r t o G i a c o m e t t i " ; The S a t u r d a y E v e n in g
P o s t , J u l y 31 , 1 965, p . 71.
3
b e c a u s e i t i s o u r s e l v e s ." 3
And o u r s e l v e s as t h e m o st i m p o r t a n t t h i n g s i n o u r
l i v e s , fo rm t h e f o u n d a t i o n fro m w h ic h we c a n r e a c h o u t t o b e t t e r u n d e r s t a n d
o th ers.
A d r a w in g can b e j u s t a s s o l i d a s a p i e c e o f s c u l p t u r e and a s w e l l
c o n s tr u c te d w ith o u t b e in g a diag ram .
I n t h i s r e s p e c t d r a w in g can a p p ro a c h
a t h r e e d i m e n s i o n a l e x p e r i e n c e w h ic h l e a d s t h e way t o s c u l p t u r e .
I draw t o
e x p r e s s m y s e l f , t o l e a r n more a b o u t t h e h e a d a n d f i g u r e j o r j u s t f o r t h e
e n jo y m e n t o f d r a w in g i t s e l f .
I n any c a s e , d r a w in g i s a c o n s t a n t .
I w ill
n e v e r •r e a c h 'a p o i n t w h e r e d r a w in g s w i l l n o t b e n e c e s s a r y o r s i g n i f i c a n t t o
my w ork e i t h e r as - a p r e l i m i n a r y s t e p f o r s c u l p t u r e o r as -an e x p r e s s i v e
medium i n i t s e l f ;
.The n e x t s t e p in .m y b a c k g r o u n d i n v o l v e d c l a y m o d e lin g a s t h e f i r s t
t h r e e d i m e n s i o n a l e x p e r i e n c e an d one t h a t I p l a n t o r e t u r n t o o v e r and o v e r
a g a i n .■ M o d e lin g i s i m p o r t a n t n o t o n l y b e c a u s e t h e work can b e b u i l t up
p i e c e by p i e c e , b u t a l s o b e c a u s e i t
can b e e a s i l y d e s t r o y e d a n d - r e b u i l t »
It
i s a more s p o n t a n e o u s medium and l e n d s , i t s e l f t o e x p l o r a t i o n ..
C ra fts m a n s h ip i s p e rh a p s th e l e a s t im p o r ta n t f a c e t o f s c u l p t u r e f o r as
w ith a l l . t h e
te c h n ic a l asp ec ts of a r t i t
can b e l e a r n e d . ■ I t i s i m p o r t a n t ,
h o w e v e r , a s a means o f b e c o m in g more i n v o l v e d w i t h t h e m a t e r i a l , a s a h e l p ­
m a te to w a rd s f r e e r e x p r e s s i o n , and as d i s c i p l i n e .
C r a f t s m a n s h i p i s n e c e s s a r y t o a d e g r e e i n o r d e r t o g i v e fo rm t o t h e
a r t i s t 's
im a g in a tio n .
H is i m a g i n a t i o n i s h e l p l e s s w i t h o u t t h e means to
put i t in to e f f e c t.
3
:
:
"
H e r b e r t R e a d , H enry Moore ^ H raw ings and. S c u l p t u r e S i n c e 1 9 4 8 , P e r c y
L und, H u m p h r ie s , L t d . , Lon don 1 9 5 5 , p . x i v ;
' '
4
Know ledge o f t h e m a t e r i a l , i t s
u n i q u e q u a l i t i e s . a n d l i m i t a t i o n s and t h e ,
a c c e p t a n c e o f t h o s e l i m i t a t i o n s , a l l o w s t h e a r t i s t t o make f u l l u s e o f i t .
D i s c i p l i n e a n d p r e p a r a t i o n a r e , i n a w a y , synonym ous.
D is c ip lin e ,
w h e t h e r a s . a s t u d y o f . c r a f t s m a n s h i p o r t h e human f i g u r e , i s
t h e same as p r e ­
p a r i n g o n e ' s s e l f f o r a f u l l e r and more l a s t i n g e x p r e s s i o n .
Ivan M e stro v ic ,
who f e l t t h e d e m is e o f . t r a d i t i o n a l d i s c i p l i n e i n m odern a r t v e r y s t r o n g l y ,
once s a i d .
The young p e o p l e o f t o d a y do n o t w i s h t o o t u d y , . s o t h e y
" w i l l n o t I e a m anatom y o r c a r v i n g . Money i s w h a t t h e y w a n t ,
an d f re e d o m ; b u t t h e y do n o t p r e p a r e t h e m s e l v e s f o r e i t h e r .
They f e e l no r e v e r e n c e f o r a r t , s o t h e i r work w i l l n o t
e n d u re .^ .
I d o n ' t b e l i e v e i n y e a r s o f t e d i o u s l y d e t a i l e d anatom y l e s s o n s . R a t h e r
w h a t e v e r anatom y i s n e c e s s a r y s h o u l d b e g i v e n a c c o r d i n g t o t h e s t u d e n t ’ s a b i l ­
i t y t o c o n t r o l i t . Anatomy can become an i n t e g r a l p a r t o f a w o rk w i t h o u t
o v e rw h e lm in g i t .
B u t t h e f a c t r e m a in s t h a t M e s t r o v i c h i t s q u a r e l y upon t h e
l a c k o f a s t r o n g f o u n d a t i o n i n many s t u d e n t s .
Not on ly i s . th e la c k o f a
s t a r t i n g p l a c e m i s s i n g i n many c a s e s , b u t a l s o m i s s i n g i s -the d e s i r e f o r any
such b a s i s .
U n fo rtu n a te ly , e f f o r ts
more and more r a r e .
to s to p t h i s
t r e n d seem t o b e be c o m in g
I n s t e a d i t i s p e r h a p s t h e common o c c u r r e n c e when " . . .
m ere f l a i r i s ..c o n fu se d w i t h d i s c i p l i n e d g r o w t h , when i t i s
r e a l l y o n ly a
c o n t i n u a t i o n o f i n f a n t i l e o r j u v e n i l e r e l e a s e . . J t ^&y b e t h a t an o u t l o o k .
t o w a r d s t h e human f i g u r e as a v i t a l an d dy n a m ic s o u r c e w o u ld add a new
d i r e c t i o n and e n e r g y to. much o f t o d a y ' s a r t .
■i
^ M a lv in a H o ffm a n , " M e s tro v ic " ,, C o l g a t e A r t G a l l e r y e x h i b i t i o n c a t a l o g u e ,
H a m i l t o n , New Y o r k , 1963.
-’Jo h n C a n a d a y , E m b a t t l e d C r i t i c , ,: Views on M odern A r t , Noonday P r e s s ,
New Y o r k , 1 9 5 9 , p . 4 4 .
5
The p r e s e n t age o f a b s t r a c t i o n h o l d s v a l u a b l e l e s s o n s , l e s s o n s w h ic h
can be. l e a r n e d and p u t t o u s e . I t i s n o t my p o s i t i o n t o c l i n g t o n a t u r a l i s m .
D e t a i l e d p o r t r a i t s h o l d n o i n t e r e s t f o r me. I b e l i e v e t h a t a b s t r a c t s h a p e s
can b e u s e d t o p o i n t up t h e m ain c o n c e r n o f a p i e c e o f s c u l p t u r e . I n t h i s way
t h e y do n o t become e n d s i n t h e m s e l v e s , . b u t means t o an e n d . I n t h e w ords o f
L e o n a rd B a s k i n ,
I do n o t c l o s e my e y e s t o t h e g r e a t f o r m a l d i s c o v e r i e s o f
t h e m o d em m ovem ent. On t h e c o n t r a r y , my d e s i r e i s t o l e a r n
t h o s e l e s s o n s a n d t o c o m p le te th em t o my p u r p o s e .^
My p u r p o s e i s
t o u s e more o r l e s s a b s t r a c t fo rm s as f o i l s f o r t h e h e a d i n
o r d e r . t o make t h e h e a d m ore i m p o r t a n t and d r a m a t i c . I n my t h e s i s work (w h ich
w i l l b e d i s c u s s e d i n m ore d e t a i l l a t e r )
t h e d r a p e and h a i r m ass s e r v e t h i s
p u r p o s e i n t h e S i e n n a s t o n e a s do t h e h a i r m ass and c h e s t s h a p e i n t h e w h i t e
o n e .. T h e re a r e many a r e a s i n . a b s t r a c t i o n f o r a s t u d e n t t o e x p l o r e , b u t f o r
me I d o u b t i f
t h e y w i l l e v e r b e more t h a n s u b o r d i n a t e t o t h e e x p l o r a t i o n o f
t h e h e a d and f i g u r e .
The m a s t e r s c u l p t o r s d i s c u s s e d i n t h e f o l l o w i n g p a g e s c o v e r a w id e a r e a .
They r e a c h fro m one w o r l d t o i t s
o p p o s ite and a ls o in c lu d e s e v e r a l s te p s a -
I o n g t h e way - fro m " r e a l i s m " t o a b s t r a c t i o n , fro m t h e W e s t e r n t r a d i t i o n t o
O r i e n t a l th o u g h t. Yet i n s p i t e o f t h e i r d i f f e r e n c e s th e s e a r t i s t s , have a
common s t a r t i n g p l a c e i n t h e human f i g u r e . R o d in b e g a n w i t h t h e h e a d and
f i g u r e and k e p t th em a s t h e c e n t e r o f h i s w o r k , and G i a c o m e t t i r e t a i n s
h e a d a s t h e c e n t e r o f h i s e f f o r t s . One o f H enry M oore’ s aim s i s
th e
to I e a m
m ore a b o u t t h e human b o d y , a n d e v e n t h o u g h t h e y became u n i m p o r t a n t f o r B r a n ­
c u s i , t h e h e a d and f i g u r e fo rm e d t h e b a s i s o f h i s e a r l y w o r k .
^ S e l d e n Rodman, C o n v e r s a t i o n s w i t h A r t i s t s , C a p r i c o r n B o o k s , New Y o r k ,
1961, p . 173.
AUGUSTE RODIN ( 1 8 4 0 -1 9 1 7 )
To A u g u s te R o d in t h e human h e a d was i m p o r t a n t as a r e f l e c t i o n o f an
in d iv id u a l's in n e r c h a ra c te r.
He b e l i e v e d t h a t t h e s p i r i t o f h i s s u b j e c t
c o u l d b e r e a l i z e d i n h i s f a c e i f one lo o k e d c r i t i c a l l y an d c a r e f u l l y e n o u g h .
I n R o d i n ’ s own w o r d s , "Qne h a s o n l y t o lo o k a t a human f a c e t o f i n d a s o u l . .
• • • To h im ,
. . . n o f e a t u r e d e c e i v e s ; h y p o c r i s y i s as t r a n s p a r e n t as
s i n c e r i t y . The i n c l i n i n g o f t h e b r o w , t h e l e a s t f u r r o w ­
i n g o f t h e e y e b r o w s , t h e t e n d e n c y o f a lo o k may r e v e a l
th e s e c r e ts of th e h e a r t . 8
i
R o d i n 's c o n c e r n was w i t h th e . c h a r a c t e r o f t h e i n d i v i d u a l .
o f h i s p r e d e c e s s o r s a n d many o f h i s
U n lik e m o st
c o n t e m p o r a r i e s who t h o u g h t o f s c u l p t u r e
o n l y i n t e r m s o f i d e a l i z e d h e r o e s * n y m p h s, an d faw ns , R o d in was i n t e r e s t e d
in s e a rc h in g f o r the b a s ic m o tiv a tin g f e e lin g s of a p a r t i c u l a r p e rso n .
" S u f f e r i n g , d e s i r e , t e n d e r n e s s , i n t e r e s t e d him o n l y i n s o f a r as t h e y w e re
e x p r e s s i v e o f an i n d i v i d u a l e x i s t e n c e . I n
u r y s c u l p t u r e owes much t o h im .
th is re s p e c t tw e n tie th c e n t- ■
He fo rm e d a d i f f i c u l t a n d , u n t i l r e c e n t l y ,
u n a p p r e c i a t e d t r a n s i t i o n b e tw e e n two e r a s .
He d i s c o v e r e d t h a t " . . . . n o t h i n g
h a s more i m p o r t a n c e f o r us t h a n o u r own f e e l i n g s , o u r own i n t i m a t e p e r s o n ­
a l i t y . "I®
He h a d s e e n " . . , . t h a t e a c h one o f us . . . p l a c e s t h e c e n t e r o f t h e
u n i v e r s e i n h i s own s o u l ."•*-■*-
R odin w i s h e d - t o r e l e a s e a n d r e v e a l t h e h i d d e n
a s p e c t s o f an i n d i v i d u a l c h a r a c t e r r a t h e r t h a n lo o k f o r a common bond among *I
^ S o m e r v i l l e S t o r y , R o d i n , O x f o r d U n i v e r s i t y P r e s s , New Y o r k , 1939’, p . 15.
S lb id .
9 j e a n S e l z , Modern S c u l p t u r e , G eorge B r a z i l l e r , I n c . , New Y o r k , 1963,
p . 107.
• ^ A u g u s te R o d in ,
p . 248.
I lib id .
On A r t ■a n d A r t i s t s , P h i l o s o p h i c a l L i b r a r y , New Y o rk , 1957,
7
men.
He was i n t e r e s t e d i n w h a t he saw , n o t how he s a w , and w h a t h e saw was
hope o r d e s p a i r , jo y o r so rro w , c o n f l i c t o r s e r e n i t y , d e s i r e o r f r u s t r a t i o n .
The s e a r c h f o r t h e s e t r a i t s was p e r h a p s R o d i n 's g r e a t e s t c h a l l e n g e :
" ..........
t h e r e i s no a r t i s t i c w ork w h ic h r e q u i r e s as much p e n e t r a t i o n a s t h e b u s t and
the. p o r t r a i t T h e
s u b j e c t o f t h e h e a d i t s e l f , h o w e v e r , d i d n o t make up
th e g r e a t e s t p a r t of h i s e f f o r t s .
The t o t a l i t y o f t h e human f i g u r e f o r m e d - t h e c e n t e r o f R o d i n 's w o r k . To
h im e v e r y , m u s c l e a n d g e s t u r e , e v e r y movement o f t h e b o d y , s h a r p e n e d h i s
p i c t u r e of the p e r s o n 's in n e r s e l f :
I n r e a l i t y t h e r e i s n o t a m u s c l e o f t h e body w h ic h do e s •
n o t e x p r e s s the. i n n e r v a r i a t i o n s o f f e e l i n g . O u t s t r e t c h e d
a rm s , an u n c o n s t r a i n e d b o d y , s m i l e w i t h as much s w e e t n e s s
a s t h e e y e s o r l i p s .13
"The b o d y a lw a y s e x p r e s s e s t h e s p i r i t w hose e n v e l o p e i t i s .
h im who can s e e ,
th e nude o f f e r s
th e r i c h e s t m e a n i n g . T r u l y
And f o r
t h e nude
d i d o f f q r t h e r i c h e s t m e a n in g f o r R odin who b r o u g h t , i t b a c k t o a m e a n i n g f u l
p lace in a r t .
He was c o n s t a n t l y d r a w in g a n d m o d e lin g fro m t h e m o d els he
k e p t m oving a r o u n d h i s s t u d i o s .
As t h e y moved he w o u ld t r y t o c a p t u r e a
p o s e t h a t a p p e a l e d t o h im o r a s k t h e m odel t o h o l d a p a r t i c u l a r a t t i t u d e
w h ile he q u ic k ly pushed th e c la y i n t o sh a p e .
o f t h e human f i g u r e a l l h i s
life
R odin was a d e v o t e d s t u d e n t
and i n t h i s a r e a no s e p a r a t e p a r t was as
i m p o r t a n t a s . t h e o v e r a l l a t t i t u d e and movement o f t h e w h o le b o d y .
B ut R odin g a i n e d m o st o f h i s fame a n d , f o r t u n e from d o i n g p o r t r a i t s
b u s t s . Many o f . t h e s e p i e c e s ,
12I b i d . , p .
and
l i k e "Madame X" fo,r e x a m p le , r e v e a l t h e i n f I u - •
137.
12I b i d . , p p . 4 3 - 4 4 .
1^l1A u g u s t e , R o d i n , A r t , S m a l l , M aynard and Company, B o s t o n , 1 912, p . 165.
8
9
e n c e s o f t h e t i m e s w h ic h h e l a t e r d i s r e g a r d e d c o m p l e t e l y .
T h is a t t e m p t
t o make s t o n e i n t o b r e a t h i n g f l e s h was one o f t h e s c u l p t o r ’ s e a r l y f a s ­
c i n a t i o n s and c o m p i le d w i t h t h e a c a d e m ic a t t i t u d e to w a rd s m a t e r i a l a t t h e
tim e ... The i d e a was t o s i m u l a t e f l e s h ,
t o im p o se s k i n - l i k e q u a l i t i e s on t h e
s t o n e . T h i s o u t l o o k s t r o n g l y c o n t r a s t s w i t h t h e p o i n t o f v ie w o f many s c u l p ­
t o r s t o d a y |who f e e l t h a t t h e m a t e r i a l p a r t i c i p a t e s i n t h e c r e a t i o n o f a w ork
].
of a rt.
They w ork w i t h t h e m a t e r i a l i n s t e a d o f t r y i n g t o m a n i p u l a t e i t . '
"The A g e - o f B r o n z e " a s an e a r l y f i g u r e s e e m e d .s o l i f e - l i k e
t h a t they b e li e v e d i t
At th is
to. some c r i t i c s
c o u l d h a v e b e e n c a s t o n l y d i r e c t l y fro m a . l i v e m o d el!
tim e R odin f e l t i t n e c e s s a r y t o t r a n s f o r m h i s m a t e r i a l i n t o some­
th in g e l s e :
"You a l m o s t e x p e c t , when y o u t o u c h t h i s body t o f i n d i t warm.
" E v e ry m a s t e r p i e c e o f t h e s c u l p t o r h a s t h e r a d i a n t a p p e a r a n c e o f l i v i n g
f l e s h . T h i s
g o a l was e s p e c i a l l y a p p a r e n t w i t h s t o n e . R o d in r a r e l y
carved h im s e lf..
He gave c l a y m o d els o f h i s
c o n c e p t i o n s t o c r a f t s m e n who
t r a n s f e r r e d them i n t o m a r b l e i n t h e s t y l e . o f t h e t i m e s .
h e ld
S to n e c a r v i n g n e v e r
t h e c h a l l e n g e t h a t c l a y m o d e l in g d i d f o r R odin an d m^ny o f t h e s t o n e s
lo o k i t .
They w e re p r o b a b l y t h e m o st p o p u l a r o f h i s w orks d u r i n g h i s
life ­
t i m e , b u t d i d t h e m o s t , t o a l l y h im w i t h t h e l e s s e r s c u l p t o r s a m o n g .h is co n ­
tem p o ra rie s.
R odin . h i m s e l f r e a l i z e d t h i s a n d once s a i d o f h i s
famous p i e c e
c a l l e d "The K i s s " , " U n d o u b te d ly t h e i n t e r t w i n i n g . . . . i s p r e t t y , b u t i n t h i s
g ro u p I made n o d i s c o v e r y . I t i s a theme t r e a t e d a c c o r d i n g t o t h e a c a d e m ic
t r a d i t i o n . "1^
15
J o h n C a n a d a y , M a in s tr e a m s .o f .'M odem A r t , H o l t , . R i n e h a r t a n d W in s to n ,
New Y o r k , 1959, p . 2 0 9 .
16I b i d .
! ^ " I n t e r n a t i o n a l Comeback, o f a H a s-B e e n T i t a n . o f S c u l p t u r e " , L i f e , O c t o b e r
2 5 ,. 1963; v o l . 5 5 , p . 89 .
10 •
R odin p r o g r e s s e d f ro m "Madame X " ' and "The K i s s " t o w h a t may h a v e b e e n
th e peak of h i s
c a r e e r w i t h t h e "Monument t o B a l z a c " .
i t a t i o n a l o n e w o u ld n o t p r o d u c e " g o o d " ' s c u l p t u r e .
He r e a l i z e d t h a t im­
I t becam e n e c e s s a r y f o r
h im t o d r a m a t i z e the- e x p r e s s i v e c o n t e n t o f t h e f a c e o r f i g u r e a t t h e e x p e n s e ,
o f a n a to m ic a l d e t a i l s .
I n R o d i n 's w o r d s : ■
F i r s t I. made c l o s e s t u d i e s a f t e r N a t u r e , l i k e "The
B ro n z e A g e " . L a t e r I u n d e r s t o o d t h a t a r t r e q u i r e d
more b r e a d t h - e x a g g e r a t i o n i n f a c t , and my aim was
t h e n . . . t o f i n d ways o f e x a g g e r a t i n g l o g i c a l l y t h a t . i s t o s a y by r e a s o n a b l e a m p l i f i c a t i o n o f t h e
m o d elin g . T h a t, a l s o , c o n s i s t s i n th e c o n s ta n t re d u c ­
t i o n o f t h e f a c e t o a g e o m e t r i c a l f i g u r e , and t h e r e ­
s o lv e t o s a c r i f i c e e v e ry p a r t o f th e fa c e to th e sy n ­
th e s is of i t s asp ect.
I n t h e B a l z a c (1 8 9 1 -9 8 ) R odin makes t h e d r e s s i n g gown i n t o an a b s t r a c t ,
n e a r l y c y l i n d r i c a l s h a p e w h ic h do e s i t s
own p a r t i n r e v e a l i n g the. c h a r a c t e r
o f t h e w r i t e r as w e l l as d r a m a t i z i n g t h e h e a d . I t i s s a i d t h a t . w h e n A n t o i n e
B o u r d e l l e saw t h e B a l z a c i n R o d i n 's , s t u d i o h e f e l t t h a t t h e hands, w e re to o
d i s t r a c t i n g an d R o d in i m m e d i a t e l y k n o c k e d them o f f . T h is p r o b a b l y c o u l d n ' t
have happened i n . t h e y e a rs b e f o r e .
an i n n o v a t i o n .
The ro u g h s u r f a c e o f t h e B a l z a c i s a l s o
" S c u lp tu r e i s q u i t e sim p ly th e a r t o f d e p r e s s io n a n d .p r o tu b ­
e r a n c e . C la y was t h e a r t i s t ' s
means o f e x p l o r a t i o n .
f a v o r i t e medium a n d .b e ca m e i n c r e a s i n g l y -a
I n y e a r s t o come R odin .would t u r n t o more e x p e r i m e n t a l
s c u l p t u r e and p r o v i d e a s t e p p i n g s t o n e to ^ t w e n t i e t h c e n t u r y a b s t r a c t i o n .
He
m o d e le d s u s p e n d e d , d a n c i n g f o r m s , and t a k i n g t h e human f i g u r e a s t h e s o u r c e
of " . . .
th e m y stery o f l i f e
..." 2 0
h e e x p e r i m e n t e d i n j o i n i n g f i g u r e s an d I
! ^ S o m e r v i l l e S t o r y , R o d i n , O x fo rd U n i v e r s i t y P r e s s , New Y o r k , 1939 , p . 1 4 .
I o
C a n a d a y , Op. c i t . , p . 2 08.
^ ^ ' ' I n t e r n a t i o n a l Comeback o f a H a s-B e e n T i t a n o f S c u l p t u r e " , L i f e , O c t o b e r
2 5 , 1963,. v o l . 5 5 , p . 9 1 .
11
J
12
hands i n a p ie c e of s c u lp t u r e .
To R o d in a h a n d c o u ld b e s e e n i n a f i g u r e
o r a f ig u re in a leg or a tr e e in a f i g u r e .
c e n t e r o f h i s w ork
t h e human b o d y .
R o d i n 's
E v e r y t h i n g ■stem med fro m t h e
l e g a c y was r e c o g n i z e d by
B r a n c u s i when h e c a l l e d t h e ’ "Monument t o B a l z a c " , "The p o i n t o f d e p a r t u r e
o f m o d em s c u l p t u r e . " ^
oi
Jo h n C a n a d a y , "The R o d in R e v o l u t i o n " , The New York Times M a g a z i n e , Ju n e
9 , 1963, p . 3 6 .
ALBERTO GIACOMETTI ( 1 9 0 1 -
)
A l b e r t o G i a c o m e t t i ' s a p p r o a c h t o t h e h e a d i n s c u l p t u r e i s one o f p e r ­
so n al e n c o u n te r.
In th e fa c e s o f o th e r s he d is c o v e r s h i m s e l f . "G iac o m e tti
r e l e a s e s h i m s e l f o f h i s own im age t h r o u g h t h a t o f o t h e r s . "22
T h is a c c o u n t s
f o r t h e t i a s i c s i m i l a r i t i e s among h i s h e a d s , f o r i n a s e n s e t h e y a r e s e l f
p o rtra its.
fig u ra tiv e
s e l f . "23
"By a d i a l e c t i c a l p r o c e s s ,
t h e b u s t e n a b l e s h im t o e s c a p e fro m
c o n s t r a i n t a n d f i n d t h r o u g h man h i s own n a t u r e a n d n a t u r e i t ­
H e re i n s t e a d o f R o d i n 's a t t i t u d e o f d e l v i n g i n t o t h e i n n e r l i f e
o f a n i n d i v i d u a l and e x p r e s s i n g w h a t h e f o u n d , t h e r e i s a man who l o o k s i n t o
e v e r y o n e w i t h t h e same e y e .
I n h i s own w o r d s , " I make a h e a d t o s e e how I
s e e , t o know how I s e e , n o t t q make w o rk s o f a r t . "24
d i s c o v e r more a b o u t how h e s e e s , n o t w h a t h e s e e s .
G i a c o m e t t i w a n ts t o
He i s
concerned w ith
f i n d i n g o u t m ore a b o u t h i m s e l f and h u m a n i ty as a w h o le i n s t e a d o f w i t h w h a t .
i s f e l t to be th e e s se n c e o f a p a r t i c u l a r p e r s o n 's c h a r a c te r .
In f a c t ,
" t h e more G i a c o m e t t i q u e s t i o n s t h e i r a p p e a r a n c e , t h e more h e d i s i n d i v i d u a l i z e s t h e m . "23
The h e a d r e m a in s t h e f o c u s o f G i a c o m e t t i ' s w o r k , b u t t h e human f i g u r e
p l a y s an i m p o r t a n t r o l e .
A t f i r s t G i a c o m e t t i s t e p p e d b a c k fro m t h e m odel
t o r e d u c e d i s t r a c t i o n s , a n d t h e r e f o r e v ie w .the f i g u r e a s a w h o l e .
d i d t h i s , h o w e v e r , h i s work becam e e l p n g a t e d , l e a n and s p a r s e .
When h e
The d i s ­
tance; h e f e l t was n e c e s s a r y t o s e e t h p t o t a l f i g u r e becam e a g u l f , a .g u l f
t h a t s u r r o u n d s h i s f i g u r e s an d maims pnd r a v a g e s them ("Woman, S h o u l d e r
B roken").
22
P erhaps h i s gaunt f ig u re s p o re th an h is heads s u p p o r t,h is b e l i e f
R a o u l - J e a n M o u lin ,
p . 9.
G i a c o m e t t i , T udor P u b l i s h i n g Company, New Y o r k , 1 964,
23I b i d .
2 ^ A l e x , L i b e r m a n , " G i a c o m e t t i " , V og u e , J a n u a r y , 1955, p . 15 1 .
2 3 P . E . S c h n e i d e r , " H is Men Look L ik e S u r v i v o r s o f a S h i p w r e c k " , The New York
Times M a g a z i n e . J u n e 6 , 1 965, p . 3 9 .
14
th a t,
"A w ork ,o f a r t i s an i l l u s i o n .
I f you h e i g h t e n t h e i l l u s o r y q u a l i t y ,
t h e n y o u come c l o s e r to. t h e e f f e c t o f l i f e .
B u t f o r G i a c o m e t t i n o t h i n g can e q u a l t h e e x c i t e m e n t h e f i n d s i n t h e
human h e a d .
"That i s
t h e g r e a t e s t o f a d v e n t u r e s - t o lo o k a t one f a c e
e v e r y d a y and n e v e r f a i l t o f i n d s o m e t h in g new i n i t . "27
The h e a d s o f h i s
b r o t h e r , D i e g o , and h i s w i f e h a v e b e e n two o f h i s f a v o r i t e s u b j e c t s .
He
h a s done D i e g o 's h e a d o v e r 1000 t i m e s b u t . t h e more r e c e n t o n e s s a t i s f y him
l e s s t h a n t h e f i r s t one w h ic h h e d i d a t t h e age o f t h i r t e e n .
fig u re s,
Even i n h i s
t h e h e a d r e m a in s a s t h e f o c a l p o i n t ,
As roads, l e a d t o a c i t y , s o t h e m y r i a d l i n e s t h a t make
up a G i a c o m e t t i f i g u r e c o n v e r g e on t h e f a c e . ' I t i s th e
b u r n i n g c e n t e r o f h i s w o r k .28
I n s p i t e o f h i s i n t e n s e c o n c e n t r a t i o n on t h e s u b j e c t o f t h e h e a d , how­
e v e r , he f e e l s h i s t a s k of " r e p r e s e n t i n g n a tu r e " w i l l n e v e r be f i n i s h e d .
T h e re i s n o s u c h t h i n g as s u c c e s s f o r G i a c o m e t t i .
a d v e n tu re o f c o n tin u o u s s e a r c h in g .
co m p le te d .
T h e re i s o n l y t h e g r e a t
N o t one p i e c e o f s c u l p t u r e i s e v e r
H is work i s p e r p e t u a l l y i n p r o g r e s s .
As soon a s a p i e c e i s
t a k e n away t o b e e x h i b i t e d i t l o s e s a l l i n t e r e s t f o r h im .
" E v e n tu a lly I
h a v e t o l e t somebody t a k e t h e p i e c e aw.ay.. , . I t ' s , m e re ly , an i n t e r r u p t i o n .
b e g in a l l o v e r im m ed ia te ly .
in h is l i f e is
I .continue-, I f a i l a g a i n . "29
I
The one c e r t a i n t y
t h a t h e knows h e can n e v e r s u c c e e d i n r e p r o d u c i n g h i s v i s i o n
o f th e head:
2 6 I b i d , p'. 35 .
27"T he Chatnp o f t h e P r i z e w i n n e r s " , L i f e , May 2 9 , 1964, v o l . 5 6 , p . 9 5 .
2 8 p .E . S c h n e i d e r , . " H is Men Look L ik e S u r v i v o r s o f a S h i p w r e c k " , The New
York Times M a g a z i n e , J u n e 6 , 1965, p . 37 .
29J o h n K o b l e r , "The T orm en t o f A l b e r t o G i a c o m e t t i " , The S a t u r d a y E v e n in g
P o s t , J u l y 3 1 , 1 965, p . 70.
15
S t i l l t h e p r o b le m i s t o s e i z e the. w h o l e . And t h a t ' s p r e ­
c i s e l y w h a t e n t h r a l l s me - t h e v e r y i m p o s s i b i l i t y o f i t .
I f I c o u l d s o l v e i t , I w o u ld l o s e i n t e r e s t . H a p p i l y ,
t h e r e i s no s o l u t i o n .
Each p i e c e o f w ork g i v e s t h i s s c u l p t o r o n l y a n i d e a f o r t h e n e x t p i e c e ,
a n d i n s t e a d o f a n s w e rs p r o v i d e s o n l y more q u e s t i o n s .
G i a c o m e t t i w i l l n e v e r b e a b l e t o r e p r o d u c e h i s v i s i o n o f r e a l i t y . He
knows t h a t a r t i s an i l l u s i o n .
He,
...b e lo n g s to a g e n e ra tio n t h a t d isc o v e red th e a b s u rd ity ,
th e i m p o s s i b i l i t y , t h a t l i e s a t th e r o o t o f a l l a r t i s t i c
a c t i v i t y - an d on them t h i s , d i s c o v e r y a c t e d as a s t i m u l a n t .
They a r e , one m ig h t s a y , r o c k r b o t t o m o p t i m i s t s ., I t i s t h e
road t h a t m a tte r s , n o t th e g o a l.
T h is s e a r c h f o r t h e i m p o s s i b l e i s
t h e g r e a t e s t c h a l l e n g e and t h e i n ­
t e n s i t y w i t h w h ic h G i a c o m e t t i a p p r o a c h e s i t s te m s fro m a deep s e n s e o f
u r g e n c y - an u r g e n c y t h a t made w h a t was t o b e a t e m p o r a r y s t u d i o tw e n ty
y e a r s ago become a p e r m a n e n t o n e .
f i r s t r e a liz a tio n of h is m o rta lity .
T h is u r g e n c y i n t u r n grew fro m t h e a r t i s t ' s
S i n c e w i t n e s s i n g t h e s lo w d e a t h o f a
f r i e n d , G ia c o m e tt i , h a s a lw a y s b e e n aw are o f t h e im m inence o f d e ,a th .
G i a c o m e t t i ' s s c u l p t u r e s d r a m a t i z e t h r o u g h s t a r k , s l a s h e d f i g u r e s and
s c a r e d , r a v a g e d f a c e s t h e r e a l i z a t i o n o f t h e v a s t e m p t i n e s s w h ic h s e p a r a t e s
men fro m t h e m s e l v e s and e a c h o t h e r .
I n 1946 h e e x p e r i e n c e d a v i s u a l r e a l i t y
o f - th i s a b s u r d i t y i n a t h e a t e r :
-
. S u d d e n l y , I c e a s e d b e i n g a b l e t o f o l l o w w h a t was h a p p e n i n g
on t h e s c r e e n .
The p e o p l e an d o b j e c t s on t h e s c r e e n became
- m ere s p o t s , b l a c k and w h i t e s p o t s , w i t h o u t any m e a n i n g . I
t u r n e d away fro m t h e s c r e e n and s t a r t e d l o o k i n g a t ; my n e i g h ­
bors.
I t was a c o m p l e t e l y unknown s i g h t .
The unknow n, t h e
30I b i d . , . p .
71.,
33S c h n e i d e r , Op. c i t - . , p . 4 6 .
17
m y s t e r i o u s was t h e r e a l i t y a r o u n d me, n o l o n g e r w h a t
was g o i n g on on t h e s c r e e n „32
S i n c e t h e n t h e d i r e c t i o n o f h i s a r t h a s become c l e a r .
" T h is a w a r e n e s s
o f t h e v o i d t h a t s e p a r a t e s human b e i n g s , a c c e n t u a t e s t h e i r d i m e n s io n and
condemns them t o s o l i t u d e , i s
th e a r t i s t ' s
th e d r i v i n g e le m en t o f h i s
c r e a t i o n . "33
In
own w o r d s :
I f th ey f e e l th e v o id .a ro u n d th e head I s h a l l have won.
I f I su cce e d e d i n p a i n t i n g th e v o id b e h in d th e f a c e , th e
a b y s s i t o p e n e d w o u ld b e f e a r f u l .3 4
I t is
t h is v o id t h a t has to m
a t G i a c o m e t t i ' s w orks a n d n e a r l y d e ­
v o u r e d them ( a t one tim e h e c a r r i e d f o u r y e a r s work i n s i x t i a t c h b o x e s I)
I t i s a l s o t h i s e m p t i n e s s t h a t h e :a c c e p t s and d a r e s t o e x p l o r e .
n o th in g d e s p e r a te i n G ia c o m e tti's l i f e o r w o rk „
p o s s ib ility of h is
T h e re i s
He i s r e s i g n e d t o t h e im­
t a s k and a s k s o n l y t h a t h e can c o n t i n u e t o w ork on an d o n .
H is h e a d s , h o w e v e r , a r e n o t m e r e l y t h o s e o f d e r e l i c t s w a n d e r i n g i n an
i n d i f f e r e n t w o rld .
N o t o n l y a re - t h e y v i c t i m s , b u t a l s o s u r v i v o r s .
J u s t as
G i a c o m e t t i h i m s e l f l i v e s w i t h and s u r v i v e s t h e r e a l i t y o f p e r s o n a l i s o l a t i o n ,
s o does t h e " S m a l l B u s t " , f o r e x a m p le .
A f t e r r e a l i z i n g .t h e p o s s i b i l i t y o f
t h e v o i d p e r h a p s man can b o u n c e b a c k a g a i n r e s i g n e d and more a b l e t o r e a c h
o u t a c r o s s t h e gap t h a t s e p a r a t e s him fro m h i s f e l l o w man.
G ia c o m e tti i s
c o n c e r n e d n o t o n l y w i t h m a n 's a l i e n a t i o n , b u t a l s o w i t h h i s
common b o n d s „
One o f t h e s e b o n d s may b e h i s a b i l i t y
t o l i v e on s p i r i t a l o n e „
p o s s e s s i o n s ar.e m e a n i n g l e s s t o t h i s a r t i s t .
C e rta in ly
H is a w a r e n e s s o f h i s m o r t a l i t y
32I b i d . , p . 3 7 .
^ R a o u l - J e a n , M o u l i n , G i a c o m e t t i , T udor P u b l i s h i n g Company, New Y o r k , 1964,
p . 2.
18
19
i s so g r e a t t h a t he c a n ’ t a c c e p t p o s s e s s i o n s o f a n y ' k i n d .
tem p o rary .
He f e e l s
to o
G i a c o m e t t i ’ s man i s s t r i p p e d t o t h e c o r e w i t h o u t t h e p r o t e c t i o n
of m a te ria l p o ssessio n s.
He i s
c o m p le te ly v u l n e r a b l e , b u t he s u r v i v e s .
A t e v e r y moment men g a t h e r t o g e t h e r and s e p a r a t e , t h e n draw
n e a r i n an a t t e m p t t o j o i n e a c h o t h e r a g a i n . I n t h i s w a y ,
t h e y a r e e n d l e s s l y f o r m i n g and t r a n s f o r m i n g l i v i n g compos lo­
t i o n s o f an u n b e l i e v a b l e c o m p l e x i t y .
I t i s the t o t a l i t y of
t h i s l i f e t h a t I w a n t t o s e i z e ,35
The c o m p l e te r e - e s t a b l i s h m e n t o f a m e a n i n g f u l r e l a t i o n s h i p w i t h an i l ­
l u s o r y w o r l d i s i m p o s s i b l e , b u t t h e e f f o r t t o do s o i s a n e c e s s i t y .
T e c h n ic a lly , G ia c o m e tti p r e s s e s ,
shape.
c a r v e s , an d gouges h i s p i e c e s i n t o
H is t e c h n i q u e f i t s h i s medium an d h i s medium f i t s h i s p u r p o s e . H is
f i g u r e s and h e a d s become drawn an d s p a r e i n s p i t e o f t h e s c u l p t o r ' s e f f o r t s .
What was o n c e p r o m i s e d a s a s i x f o o t . f i g u r e
was f i n a l l y d e l i v e r e d .
f i t i n t o a m a tc h b o x when i t
The ro u g h hewn s u r f a c e s o f h i s w ork f o l l o w from t h e
f a c t t h a t w h a t h e h a s t o s a y .c a n n o t b e s t a t e d s l e e k l y , o r p r e t t i l y .
A l l o f h i s h e a d s , m o r e o v e r , a r e p a i n t e d o r s c u l p t e d t o b e v iew e d h e a d on.
In k e e p in g w ith th e f o r c e f u l n e s s o f w hat he has to say h i s heads a s ­
s a u l t t h e o n l o o k e r w i t h t h e d i r e c t n e s s o f a g u n s h o t . T h is i s n o t s c u l p t u r e
t o b e m used o v e r fro m a l l s i d e s , b u t s c u l p t u r e t h a t m u st b e c o n f r o n t e d h e a d on .
Y e t , i n s p i t e o f t h e i r r a v a g e d a p p e a r a n c e , t h e h e a d s ' a l l seem t o h a v e
an a d d e d h e i g h t and s t a t u r e
t h a t e n a b le s G ia c o m e tti's s m a l l e s t p ie c e s to
seem l a r g e r t h a n l i f e - s i z e .
The n e c k and s h o u l d e r s h a p e s h a v e b e e n g i v e n an
a d d e d l i f t w h ic h makes them more t h a n j u s t i s o l a t e d v i c t i m s . I n t h i s r e s p e c t
p e r h a p s h i s w ork p o i n t s
to w a r d a r e n e w a l o f s t r e n g t h and e f f o r t f o r man t o
r e s i s t th e bonds o f s o l i t u d e .
^ i b i d , , p . 8.
20
HENRY MOORE (1 8 9 8 -
)
The h e a d as a s e p a r a t e e n t i t y h a s e x i s t e d f o r Henry Moore o n ly i n r e l a ­
tiv e ly rec e n t tim e s.
S in ce th e l a t e
1 9 4 0 ’ s when Moore c o n c e i v e d o f i t as a
" m a g i c a l v e s s e l " t h e h e a d h a s b e e n t r a n s f o r m e d i n t o an i n d e p e n d e n t s t r u c t u r e .
P re v io u s
to t h i s
tre a te d h is
tim e t h e h e a d was m e r e l y a k n o b - l i k e a p p e n d a g e i n work t h a t
two m ain them es - m o th e r and c h i l d and t h e r e c l i n i n g f i g u r e .
The h e a d d i d become i m p o r t a n t i n i t s e l f , h o w e v e r , as a " S h e l t e r i n g U t e r u s "
fo r th e in n e r b e in g of m a n T h e
h e lm e t head s e r i e s evoked th e id e a o f a
p r o t e c t i v e c o v e r i n g f o r t h i s i n t e r i o r m o t i v a t i n g and a n i m a t i n g p r i n c i p l e o f
t h e b o d y , t h u s c a r r y i n g o v e r t h e m o th e r an d c h i l d th em e .
A lth o u g h o n l y a s m a l l p a r t o f M o o r e 's work ( a b o u t o n e - t e n t h )
t h e h e a d a l o n e i t i s an i m p o r t a n t p a r t o f a l l o f h i s w o r k .
concerns
When a s k e d why
t h e h e a d s o f h i s f i g u r e s seem ed so u n i m p o r t a n t h e r e p l i e d :
A c t u a l l y , f o r me t h e h e a d i s t h e m o st i m p o r t a n t p a r t o f a
p ie c e of s c u l p t u r e . I t g iv e s th e r e s t s c a l e , i t g iv e s to th e
r e s t a c e r t a i n human p o i s e , a n d m e a n in g , and i t ' s b e c a u s e I
th in k t h a t th e head i s so im p o rta n t t h a t o f te n I reduce i t in
s i z e t o make t h e r e s t more m o n u m e n ta l.37
I n o t h e r w o r d s , p e r h a p s i f t h e h e a d r e m a in e d t h e same i n r e l a t i o n t o
t h e r e s t o f t h e body i t w o u ld h a v e l i t t l e
s i g n i f i c a n c e f o r M oore.
f i r s t m e a s u re o r s i g n o f s c a l e i t i s i m p o r t a n t b e c a u s e i t
r e s t o f th e f i g u r e s i g n i f i c a n c e .
As th e
t h e n g i v e s th e
I n h i s r e c l i n i n g f i g u r e s Moore o f t e n r e ­
d u c e s t h e h e a d i n p r o p o r t i o n t o t h e r e s t o f t h e body and i n t h e 1 9 3 0 ' s i t
becam e l i t t l e
more t h a n an o f f s h o o t o f t h e t r u n k . Y e t l a t e r t h e h e a d grew
i n t o an autonom ous t o t a l i t y .
A c c o r d in g t o E r i c h Neumann:
- ^ E r i c h Neumann, The A r c h e t y p a l W orld o f H enry M o o re , B o l l i n g e n F o u n d a t i o n ,
New Y o r k , 1 959, p . 100.
3 7 " s ix E n g lis h S e l f - P o r t r a i t s " , H a r p e r 's M ag azin e, A p r i l , 1965, v o l . 230,
p . 61.
22
23
The m o t i f o f t h e h e a d , i t s m e l t i n g down a s w e l l a s i t s
e n la rg e m e n t beyond w hat th e head n o rm a lly s i g n i f i e s p la y s
an i m p o r t a n t r o l e i n M o o r e 's w o r k . I t i s as i f t h e e m o t i o n a l
a c c e n t a f f e c t e d t h i s p a r t o f t h e b o d y more t h a n any o t h e r . ^8
A round ,1940 Moore b e g a n e x p e r i m e n t i n g w i t h t h e s u b j e c t o f t h e h e a d an d
gave s h a p e t o h i s i d e a o f t h e b o d y a s a c a v i t y and a v e s s e l .
The f i r s t h e a d s
o f t h i s p e r i o d p l a y e d t h e p a r t o f a p r o t e c t i v e s h e l l , c o v e r i n g an i n d e p e n d e n t
f o rm .
They w e re made up o f an a b s t r a c t s h a p e o n l y p a r t i a l l y e n v e l o p e d by
a h e lm e t - shaped s h e l l .
They showed t h e m o st o b v io u s i n f l u e n c e o f M o o r e 's
c o n s t a n t m o th e r and c h i l d c o n c e p t i o n , and gave a c t u a l t h r e e - d i m e n s i o n a l
s h a p e t o t h e i d e a t h a t m a n 's s o u l i s h i d d e n b e h i n d h i s f a c e .
T hese h e a d s
becam e t h e f o r e r u n n e r s o f t h e more famous h e l m e t h e a d s .
A s e c o n d s e r i e s o f h e a d s a b o u t 1950 o f f e r e d a n o t h e r way o f . a p p r o a c h i n g
th e head.
"H ead" i s a h o l l o w s h e l l made o f t h i n s t r i p s .
h e a d t h a t i s o n l y a mask c o n c e a l i n g n o t h i n g .
I t i s an anonymous
P e r h a p s h e r e Moore s e e s m a n .
e s t r a n g e d fro m h i s r i g h t f u l r e l a t i o n s h i p t o t h e w o r l d a r o u n d h i m .
To Moore
t h i s r e l a t i o n s h i p i s o n e . o f m o th e r and c h i l d , man d e p e n d e n t on N a t u r e . I n
t h e t w e n t i e t h c e n t u r y man ,h a s become more d e p e n d e n t on s c i e n c e and t e c h ­
n o l o g y and i s
th is is
c o n s t a n t l y t r y i n g t o c o n t r o l and s u r p a s s N a t u r e .
c o n t i n u e d man f a c e s e m p t i n e s s i n h i s
life .
As lo n g as
He becom es i n c r e a s i n g l y
m ore c o n c e r n e d w i t h power, a n d u l t i m a t l e y w i t h d e s t r u c t i o n t h a n w i t h t h e r e ­
g e n e r a t i o n and r e n e w a l e x e m p l i f i e d b y N a t u r e .
The h e l m e t h e a d s a r e a l l made up o f two s e p a r a t e e n t i t i e s :
dependent f ig u r e s en c lo se d by th e " h e lm e t" .
38 Neumann, Op. c i t . , p . 3 6 .
y
sm all i n ­
I n "H elm et H ead #2" th e
24 .
. . . s o u l d w e llin g ' i n ' th e body i s . . . c o n c r e ti z e d i n a
new w ay, an d t h e common human e x p e r i e n c e t h a t i n a p e r s o n ' s
f a c e t h e r e i s an i n n e r b e i n g l o o k i n g o u t t h r o u g h t h e e y e s
o f t h e body h a s become p l a s t i c r e a l i t y . ^
I t m a y .b e t h a t f o r Moore t h i s s t a t e m e n t i t s e l f i s e n o u g h , b u t "H elm et
Head # 2 " l e n d s i t s e l f t o a f o l l o w i n g up o f h i s e a r l i e r h e a d s .
The mouth i s
o b v io u s ly th e outw ard m a n i f e s t a t i o n o f th e i n n e r f i g u r e , b u t th e eyes p r o ­
v id e th e key to i t .
a liz e s
t h a t he i s
I n w h a t may b e t h e i r t e r r i f i e d s t a r e p e r h a p s man r e ­
l o s i n g c o n t r o l . o f h i s w o r l d , t h a t te c h n o lo g y has o u t­
d i s t a n c e d t h e man, a n d t h a t a new r e l a t i o n s h i p b e tw e e n man a n d h i s e n v i r o n ­
m en t i s n e c e s s a r y .
U n l i k e t h e two p r e v i o u s s c u l p t o r s d i s c u s s e d , o n l y a b o u t o n e - t e n t h o f
M o o r e 's w ork i n v o l v e s t h e h e a d a l o n e .
t h e human f i g u r e .
H ow ever, h e i s a c o n s t a n t s t u d e n t o f
One o f t h e m ain o b j e c t s o f h i s w ork i s ,
"...
to I e a m
and
u n d e r s t a n d a l l t h a t c a n b e l e a r n e d and u n d e r s t o o d a b o u t t h e human f i g u r e .
T h is i s
t h e f u n d a m e n t a l b a s i s o f M o o r e 's w ork and e v e r y two o r t h r e e m onths
h e t a k e s s e v e r a l w eeks a n d does l i f e
d raw in g .
He b e l i e v e s t h a t an a b i l i t y
t o draw from l i f e i s .a n e c e s s a r y p r e r e q u i s i t e f o r a s c u l p t o r :
lo n g .a n d i n t e n s e s tu d y o f th e h u m an -fig u re i s
a sculptor.M oore
" I n my o p i n i o n ,
th e n e c e s s a ry fo u n d a tio n f o r
a l s o b e l i e v e s t h a t b e c a u s e of th e s u b j e c t th e s c u l p t o r
m u s t n o t o n l y d ra w , b u t draw w e l l .
"A m o d e r a t e a b i l i t y
t o 'd r a w ' w i l l p a s s
m u s t e r i n a l a n d s c a p e o r a t r e e , b u t e v e n t h e u n t r a i n e d e y e i s more c r i t i c a l
39I b i d . , p .
104.
^ V e r a and John- R u s s e l l , "Moore E x p l a i n s H is U n i v e r s a l S h a p e s " , The New York
Times M a g a z i n e , November 11 , 1 962, p . 6 0 .
^ H e r b e r t R e a d , H enry M o o re , S c u l p t u r e a n d D raw ings S i n c e 1 9 4 8 , P e r c y L und,
H um phries a n d Company, L t d . , L ondon, 1 9 5 5 , p . x i v .
25
26
o f . t h e human f i g u r e b e c a u s e i t i s o u r s e l v e s .
B u t .M oore’ s c o n c e r n l i e s more w i t h m an’ s r e l a t i o n s h i p t o N a t u r e t h a n
w i t h h i s r e l a t i o n s h i p w i t h o t h e r men:
F o r h im N a t u r e i s n o t a l i e n o r j u s t
i n d i f f e r e n t b u t an i n t i m a t e p a r t o f m an !s l i f e
ness of h im se lf.
and i m p o r t a n t t o h i s a w a re ­
The r e c l i n i n g f i g u r e i s one o f M o o re ’s r e c u r r e n t s u b j e c t s
b e c a u s e i t c a n b e r e l a t e d t o l a n d s c a p e more r e a d i l y t h a n a s t a n d i n g o n e .
Moore r e l a t e s
t h e human f i g u r e t o b a s i c s h a p e s w h ic h e x i s t i n N a t u r e .
T h is
i s one o f h i s m ain o b j e c t i v e s :
. . . to r e e s t a b l i s h . . . th e u n i v e r s a l t r u t h s o f o u r em o tio n a l
l i f e i n t e r m s o f , . ' t h o s e u n i v e r s a l s h a p e s t o w h ic h e v e ry b o d y
i s s u b c o n s c i o u s l y c o n d i t i o n e d a n d t o w h ic h t h e y can r e s p o n d
i f t h e i r c o n s c i o u s c o n t r o l do e s n o t s h u t them o f f . ' ^
T h e se a r c h e t y p a l s h a p e s Moore d i s c o v e r s i n r o c k s , w a t e r - w o r n p e b b l e s ,
t r e e s , s e a s h e l l s , a n d.m any o t h e r t h i n g s .
They a r e . n o t p e r f e c t , s y m m e tr i­
c a l f o r m s . f o r t h e y h a v e l o s t t h e i r sym m etry i n t h e i r r e a c t i o n t o t h e e l e ­
m e n ts and g r o w t h .
They s u g g e s t s h a p e s t o him f o r h i s w ork - s h a p e s w hich
h a v e an o r i g i n a l v i t a l i t y :
Som etim es I do t h i n g s w h ic h a r e . . . p r o b a b l y more t e n d e r i n
t h e i r p o i n t o f v ie w . . . b u t o t h e r t i m e s , m o s t l y i t ! s a p o w e r.
I t ' s w h a t a p p e a l e d t o me as a y o u n g man a b o u t M e x ic a n s c u l p ­
t u r e - i t s t e r r i f i c s t r e n g t h , i t s t e r r i f i c s t o n y t e n s i o n and
v i t a l i t y . 44.
T h is e n e r g y i s
t o Moore w h a t b e a u t y was t o t h e G reek o r R e n a i s s a n c e
man:
F o r me a w ork m u s t f i r s t h a v e a v i t a l i t y o f i t s own. I
do n o t mean a r e f l e c t i o n o f t h e v i t a l i t y o f l i f e , o f move-
42I b i d .
4 3 R u s s e l , Op. c i t .
4 4H a r p e r t S M a g a z i n e , Op. c i t : , p . 6 0 .
21
merits , p h y s i c a l a c t i o n , f r i s k i n g , d a n c i n g f i g u r e s and s o o n ,
b u t t h a t a w ork c a n h a v e i n i t a p e n t - u p e n e r g y , an i n t e n s e
l i f e o f i t s own, i n d e p e n d e n t o f t h e s u b j e c t i t may r e p r e s e n t . 45
M o o r e 's p o i n t o f v ie w p l a c e s man and N a t u r e t o g e t h e r , " f o r man and
r o c k , t h e a n i m a t e a n d t h e i n a n i m a t e a r e a n e x p r e s s i o n o f t h e same m y s t e r - .
i o u s f o r c e , t h e y a r e e x p o s e d t o t h e o n s l a u g h t o f t h e same t r i a l s . 1" ^
The s c u l p t o r ' s
tre a tm e n t of h is m a te ria ls
i n t h e common b o n d b e tw e e n man a n d N a t u r e .
co rresponds w ith h i s b e l i e f
T h e .m a te ria l p a r t i c i p a t e s in th e
c r e a t i o n o f t h e w ork ■
E v e r y m a t e r i a l h a s i t s own i n d i v i d u a l q u a l i t i e s . I t i s o n ly
when t h e s c u l p t o r w o rk s d i r e c t s when t h e r e i s a n a c t i v e r e ­
l a t i o n s h i p w i t h h i s m a t e r i a l , t h a t t h e m a t e r i a l can t a k e p a r t
i n t h e s h a p i n g o f an i d e a . ^
H is c o n v i c t i o n i s one o f t r u t h t o m a t e r i a l . He s e a r c h e s f o r form s
n a t u r a l t o t h e m a t e r i a l b y s t u d y i n g o b j e c t s i n . N a t u r e and many tim e s i d e a s
f o r p ie c e s a re su g g e ste d by th e o b je c ts he s t u d i e s .
r e l a t i o n s h i p w ith th e c a rv in g i s im p o rta n t.
E s ta b lish in g a v i t a l
The s t o n e o r wood i s n o t
m e r e l y an o b j e c t o n t o w h ic h t h e s c u l p t o r im p o s e s h i s c o n c e p t i o n s , b u t a
u n i q u e o b j e c t i n N a t u r e l i k e man h i m s e l f w h ic h i s
t h a n o v e rc o m e .
t o b e w o rk e d w i t h r a t h e r
The s c u l p t o r m ust, r e m a in i n c o n t r o l , b u t n o t i n c o n f l i c t .
The " M e m o ria l F i g u r e " , f o r e x a m p l e , i n many ways r e s q m b l e s a l a n d s c a p e .
The v a r i o u s p a r t s become m o u n t a i n s , s h o r e s , , an d v a l l e y s .
The "H ead" shows
t h e i n f l u e n c e o f M o o r e 's o b s e r v a t i o n o f t h e h o l l o w s h a p e o f s e a s h e l l s and
p e rh a p s th e h e lm e t id e a w a s. s u g g e s te d by th e a r t i s t ' s , f a s c i n a t i o n w ith th e
m y stery o f c a v e s.
^ J.
P , H o d i n , M o o re , U n i v e r s e B o o k s , I n c . , New Y o rk , 1 9 5 9 , p . x i .
^ I b i d . , p . iv.
^ I b i d . , p . x.
29
CONSTANTIN BRANCUSI ( 1 8 7 6 -1 9 5 7 )
F o r C o n s t a n t i n B r a n c u s i t h e s u b j e c t o f t h e human h e a d i s
i s a s h a p e c l o s e t o t h a t o f t h e p r i m a l e g g fo rm t o w h ic h i t
a shape.
It
can b e r e d u c e d .
As one o f t h e m o s t , u n u s u a l s c u l p t o r s o f t h e t w e n t i e t h c e n t u r y , B r a n c u s i
b e l i e v e d i n n a t u r a l form s s i m i l a r t o H enry M oore.
The m a j o r d i f f e r e n c e i s
p e r h a p s t h e one w h ic h s e p a r a t e s t h e E a s t e r n and W e s te rn h a l v e s o f t h e w o r l d .
A l t h o u g h M o o r e 's w ork i s i n g e n e r a l more c o m plex th a n B r a n c u s i ' s , " . . .
c o m p l e x i t y p r o c e e d s fro m i t s h u m a n i ty - i t s
B r a n c u s i ' s w i l l t o r e d u c e an o b j e c t t o i t s
^ a s e d in . d e t a c h m e n t :
its
i n v o lv e m e n t i n human d e s t i n y .
e s s e n c e . i s , on t h e o t h e r h a n d ,
" T h e re i s an aim i n a l l t h i n g s .
i t one m u st become d e t a c h e d fro m o n e ' s s e l f . " ^
In o rd e r to a t t a i n to
" I am n o l o n g e r i n t h i s
w p r l d , n o l o n g e r a t t a c h e d t o my p e r s o n , I am f a r rem oved f ro m m y s e l f among,
e s s e n t i a l f o r m s . "50
H is o u t l o o k t o w a r d s M i c h e l a n g e l o p r o v i d e s t h e c o n t r a s t
b e tw e e n t h e two w o r l d s on a n o t h e r l e v e l , " M i c h e l a n g e l o 's t h r e a t e n i n g h e a d s
an (I c o n t o r t e d s l a v e s , seem ed t o h im t o . b e f r i g h t e n i n g and u n n a t u r a l :
As he
once s a i d , h e w o u ld n o t l i k e t o s l e e p u n d e r t h e same r o o f , i n h i s s t u d i o
w ith such c r e a t u r e s , b u t p r e f e r r e d to l i v e w ith h i s g e n tle p e a c e f u l a n im a ls .
I t i s h a r d t o b e l i e v e t h a t B r a n c u s i was once i n f l u e n c e d b y R odin and
t h a t R odin a c t u a l l y a s k e d h im t o s t u d y w i t h h im i n h i s s t u d i o .
B ut t h e
" S l e e p i n g Muse" shows t h a t B r a n c u s i ' s e a r l y w o r k . d i d i n f a c t owe much t o
Roc[in.
I t i n c l u d e d h e a d s o f c h i l d r e n , f i g u r e s , and e v e n d e t a i l e d a n a t o m i c a l
^ H e r b e r t R e a d , A C o n c i s e H i s t o r y o f M odem S c u l p t u r e j F r e d e r i c k A; P r a e g e r ,
I n c . , New Y o rk j 196 4 , p . 83.
^ C a r o l a G ie d io n -W e lc k e r, C o n s ta n tin B ra n c u si
New Y o r k , 195 9 , p . 2 2 0 .
50I b i d .
51I b i d . , p . 25.
G eorge B r a z i l l e r , I n c . ,
31
32
33
To B r a n c u s i , R odin h a d made s c u l p t u r e human a g a i n a t a tim e -when i t was
p l a g u e d w i t h f l e s h y i m i t a t i o n s o f an i d e a l i z e d hum an. f o rm .
The f o l l o w i n g
two r e p r o d u c t i o n s show t h e - c o n t i n u i n g p r o g r e s s i o n to w a rd s t h e r e d u c t i o n o f •
t h e f o rm an d t h e r e m o v a l o f - e x t r a n e o u s ' d e t a i l s .
shows t h e r e a l b r e a k w i t h n a t u r a l i s t i c s h a p e .
The s e c o n d " S l e e p i n g .M u s e "
The e y e s , e a r s , and h a i r a r e
b a r e l y s u g g e s t e d and t h e n o s e , i s g r e a t l y s i m p l i f i e d .
s h a p e s r a t h e r t h a n eyes, o r e a r s .
m ore i m p o r t a n t .
B r a n c u s i's w o rk ,
The f e a t u r e s become
The s h a p e o f t h e h e a d as a w h o le becomes,
The " B lo n d N e g r e s s " i s an ex a m p le o f . t h e c u l m i n a t i o n o f .
The h e a d i s
c o m p le te ly s i m p l i f i e d i n t o u n i v e r s a l s h a p e s -
w h ic h t r a n s c e n d i n d i v i d u a l i t y an d t h e p h y s i c a l w o r l d .
of the a r t i s t ' s
H e re i s an exam ple
d e f i n i t i o n o f b e a u t y as a b s o l u t e . e q u i t y or b a l a n c e . ^2
T a k i n g as h i s b a s i c p h i l o s o p h y , t h e w r i t i n g s -of an e l e v e n t h - c e n tu r y
T i b e t a n , monk - M i l a r e p a - B r a n c u s i b e l i e v e d . t h a t t h e l o s s o f s e l f was n e c ­
e s s a r y i n o r d e r t o become p a r t o f a w i d e r u n i v e r s e ^ . I n t u r n h i s work
s h o u l d p r o v i d e l i b e r a t i o n f o r t h e o b s e r v e r fro m p h y s i c a l a t t a c h m e n t s and
r e v e a l t h e h a r m o n y . and s e r e n i t y o f s p i r i t u a l c a lm .
B r a n c u s i was " . . .
a man
who h a s com e. t o t e r m s w i t h t h e e a r t h and c r e a t i o n , who h a s l i v e d c l o s e t o
n a t u r e , a n d h a s d i s c o v e r e d s p i r i t u a l e q u i l i b r i u m , a l i v i n g c alm o f t h e s o u l . "53
T h is i s
t h e m e s s a g e h e w i s h e d t o p a s s on t o m an k in d - t h e p o s s i b i l i t y o f
s p i r i t u a l " d e l i v e r a n c e " , an d a b s o l u t e h a r m o n y .
or
e v e n . dram a f o r B r a n c u s i .
v e r s e I s an d t h i s
T h e re i s n o c o n f l i c t , a n x i e t y ,
T h e re i s o n l y t h e a t t e m p t t o b e one w i t h u n i ­
t r a n s c e n d e n t harm ony i s b r o u g h t ..about b y " . . . c o n s t a n t l y r e - .
" ^ R e a d . Op. c i t . , p . 2 02.
CO
'
D a v id L e w i s , C o n s t a n t i n B r a n c u s i , Alec- T i r a n t i , L t d . , L o n d o n ; 1957, p . 4 .
34
35
newed m e d i t a t i o n an d c o n c e n t r a t i o n on w h a t i s e s s e n t i a l .
The human h e a d p l a y e d an i n c r e a s i n g l y ■s m a l l e r r o l e a s B r a n c u s i ' s w ork
p ro g ressed .
More and more h e t u r n e d t o a n i m a l s f o r h i s s u b j e c t m a t t e r .
As
c r e a t u r e s o f n a t u r e w i t h o u t t h e c o n f u s i o n c r e a t e d by c o n s c i o u s n e s s and t h e
burd en o f i n t e l l e c t th ey p ro v id e d a u n i f i e d s u b je c t
The h e a d was u s e d , h o w e v e r , and b e c a u s e i t i s
e g g fo rm i t i s
c lo s e ly r e l a t e d to th e
fu n d am e n ta l to th e s c u l p t o r ' s p o i n t o f v iew .
The eg g s h a p e
i s i m p o r t a n t t o much o f B r a n c u s i ' s w ork as a sym bol o f r e n e w a l and r e g e n ­
e ra tio n .
It " ...
e m b o d ie s a m y s t e r i o u s i n n e r g r o w in g :
i t is
th e fo rc e o f
d e v e l o p i n g l i f e ..........
The eg g t a k e s .on i t s
g r o w t h „•
u n iq u e shape by th e n a t u r a l p r o c e s s e s o f i t s :
I n t h i s way a l s o t h e w ork o f a r t t a k e s fo rm i t s e l f a s t h e a r t i s t
r e l e a s e s h i s c r e a t i v e e n e r g y on t h e m a t e r i a l ;
The m a t e r i a l h e r e as .a n a t ­
u r a l o b je c t p la y s a m ajo r p a r t in th e c r e a t i o n o f th e s c u l p t u r e .
carv in g i s
a n e c e s s i t y , f o r t h e medium and t h e s c u l p t o r m e r g e .
D ire c t■
In B r a n c u s i's
own w o r d s , "Y our h a n d t h i n k s and f o l l o w s t h e t h o u g h t s o f t h e m a t e r i a l . "^7
When h e w orks, h e i s
mony.
c o m p le te ly r e l a x e d .
He i s i n a s p i r i t u a l s t a t e o f h a r ­
He p r e p a r e s h i m s e l f - s o m e t h in g t h a t h e f e e l s i s more d i f f i c u l t t h a n
t h e w ork i t s e l f - and t h e n goes t o t h e m a t e r i a l i n a s t a t e o f c a lm .
p lo re s a l l th e p o s s i b i l i t i e s
o f h i s m a t e r i a l ,as he works, and w i t h o u t p r e v i o u s
^ G f e d i o n - W e l q k e r , Qp . c i t . , p .
55I b i d . , p . 2 9 .
56I b i d . , p .
14 .•
57I b i d . , p . 22.
He e x ­
14.
36
d r a w in g s o r s t u d i e s .
te ristic s
He a t t e m p t s t o r e v e a l o r u n s h e a t h t h e i n h e r e n t c h a r a c ­
o f th e m a t e r i a l .
H e re a l s o p o l i s h i n g becom es an i n t e g r a l p a r t o f t h e s c u l p t i n g , n o t
m erely a d e c o r a ti v e a f t e r t h o u g h t .
The f i n e p o l i s h i n g t h a t i s
c h a ra c te ristic
o f many o f ■B r a n c u s i ' s p i e c e s r e s u l t s i n b r o n z e s t h a t r e f l e c t a r o u n d t h e i r
w h o le s u r f a c e and s t o n e s w h ic h exude a n i n n e r glow and seem t o b e t r a n s p a r e n t
to a d e p th o f s e v e r a l i n c h e s .
N ot a l l o f h i s w ork i s p o l i s h e d .
I t depends
on t h e q u a l i t i e s o f t h e s p e c i f i c medium, b u t t h e ones t h a t a r e p o l i s h e d
seem t o , h a v e an a d d i t i o n a l t r a n s c e n d e n c y o r u n r e a l i t y .
s a y s , " T h e i r t r a n s p a r e n c y becom es t r a n s c e n d e n c e . " ^8
As G i e d io n - W e l c k e r
Thus t h e s u r f a c e t r e a t ­
m en t n o t o n l y m a i n t a i n s , s i m p l i c i t y , b u t becom es an i n t e g r a l p a r t . o f t h e
s c u l p t o r 's p h ilo so p h y .
58 I b i d . , . p . 2 5 .
AUTHOR'S ATTITUDE TOWARDS THE HEAD AND THEIR APPLICATION
The human h e a d h a s a lw a y s b e e n more i m p o r t a n t t o me t h a n t h e f i g u r e as
a w h o le b e c a u s e I b e l i e v e i t
and h i s
c o n d itio n .
r e f l e c t s m o s t d i r e c t l y w h a t man i s , h i s s p i r i t ,
I t becom es a k e y t o w h e t h e r h e i s a p a r t o f h i s w o r l d ,
o r a s t r a n g e r , h e l p l e s s o r i n c o n t r o l , a b l e t o c o n f r o n t h i m s e l f and h i s
w o r l d o r b a r e l y s a l v a g i n g an e x i s t e n c e .
The p r o b l e m o f t h e h e a d i s one o f p e r s o n a l c o n f r o n t a t i o n and p r o v i d e s
t h e g r e a t e s t c h a l l e n g e f o r me. I t i s a way o f s e e i n g , n o t an e x e r c i s e . i n
.
d r a w i n g , s h a p e , o r t e x t u r e . ' Of c o u r s e , a s a s t u d e n t some o f i t m u st b e
t h e s e t h i n g s , b u t w h a t makes a w ork o f a r t r a t h e r t h a n an e x e r c i s e o r a
g a th e rin g o f,in fo rm a tio n i s
th e s t a t i n g o f a p e rs o n a l p o i n t o f v iew .
D ecor­
a t i o n and d e s i g n a l o n e d o n ' t i n t e r e s t me.
A c h i e v i n g a l i k e n e s s i s n ' t o n e . o f my g o a l s e i t h e r .
I want to g a th e r
a l l t h e i n f o r m a t i o n I can a b o u t t h e s t r u c t u r e . o f t h e human h e a d , b u t I w a n t
t o p u t t h i s i n f o r m a t i o n t o my own u s e . I am n o t i n t e r e s t e d i n " c a p t u r i n g " an
i n d i v i d u a l 's uniq u e c h a r a c t e r i s t i c s and d o n 't b e l i e v e t h a t I c o u ld even i f
I w an ted t o .
A l l o f my p o r t r a i t s w o u ld l o o k s i m i l a r , f o r t h e d e s i r e t o e x ­
p r e s s m y s e l f w o u ld o v e r r u l e - t h e d e t a i l s o f w h a t I saw .
w ith re v e a lin g th e b a s ic t r a i t s
I am n o t c o n c e r n e d
o f a p e r s o n ' s c h a r a c t e r . R a t h e r I lo o k f o r
a common d e n o m i n a t o r o r , . i f I d o n ' t a c t u a l l y l o o k f o r i t ,
o b v i o u s i n t h e outcom e o f my w o r k .
ju st-th a t.
i t seems t o b e
The h e a d s i n v o l v e d i n t h e t h e s i s a r e
They w e re n o t m ea n t t o r e s e m b l e a n y o n e .
T e c h n i c a l l y , t h e two s t o n e s a r e a c u l m i n a t i o n o f w h a t I - h a v e l e a r n e d s o .
far.
I am c u r i o u s a b o u t t h e s t r u c t u r e o f t h e h e a d and b e l i e v e t h a t I w i l l
never le a rn a l l th e re is
t o know a b o u t i t .
B u t t h e p r o b l e m i s n ' t m e r e l y t o make h e a d s , o r a h e a d w i t h a n e c k o r
rX
38
a h e a d w i t h a n e c k and s h o u l d e r s .
I n s t e a d I t r y to -m a g n ify th e s i g n i f i c a n c e
o f t h e h e a d t h r o u g h t h e u s e o f " s u p p o r t i n g s h a p e s " , s o t o s p e a k , w h ic h i n
t h e m s e l v e s h e l p me t o e x p r e s s m y s e l f .
I n t h e d r a p e d h e a d , f o r e x a m p l e , t h e s h a p e o f t h e d r a p e a c t s as a f o i l
o r a c o n t r a s t i n g e l e m e n t . H o p e f u l l y , t h i s p o i n t s up t h e h e a d i t s e l f and i n ­
c r e a s e s t h e i n t e r e s t and v a r i e t y o f . t h e s c u l p t u r e . a s a w h o l e .
The same t h i n g
a p p l i e s t o t h e h a i r mass w h ic h c a n n o t b e j u s t s l a p p e d on t h e h e a d as an a f t e r
t h o u g h t . As p a r t o f t h e s c u l p t u r e - a s a w h o le i t can a l s o become a s c u l p t u r a l
mass i n i t s e l f w h ic h s e r v e s t o f u r t h e r d r a m a t i z e t h e h e a d . The s h o u ld e r s a l ­
s o , p r o v i d e a flo w t o t h e h e a d f r e e f ro m m a j o r d i s t r a c t i o n s a s w e l l as p o i n t
up t h e t e n s i o n a n d a c t i o n o f - t h e t u r n o f t h e h e a d .
D istra c tio n s, in th is
c a s e , i n v o l v e t h e u s e o f d e t a i l s o r e m b e l l i s h m e n t s w h i c h , fro m my p o i n t o f
v i e w , w o u ld d i s r u p t t h e m ain i n t e r e s t and d i r e c t i o n o f a w ork o f a r t .
The t o t a l s h a p e o f a s c u l p t u r e i s j u s t a s i m p o r t a n t a s t h a t o f i t s
in d iv id u a l p a r t s .,
In th e ro b ed head th e o v e r a l l i r r e g u l a r ,
s h a p e h e l p s ' t o fo rm a s o l i d c o n d e n s e d s c u l p t u r a l m a s s .
tria n g u la r
I t a l s o adds to
the. h e i g h t o f t h e p i e c e and t o i t s v i t a l i t y by p r o v i d i n g t e n s i o n b e tw e e n
t h e h e a d an d s h o u l d e r a r e a .
In th e w h ite s to n e th e a b s t r a c t e d c h e s t shape h o p e f u lly p ro v id e s i n t ­
e r e s t t o t h e w h o le p i e c e w h i l e a t t h e same t im e s t a y i n g s i m p l e enough t o
p r o v i d e a f lo w u p w a r d s , t h u s d r a m a t i z i n g t h e h e a d i t s e l f .
a g a i n form s a b a c k g r o u n d f o r t h e h e a d .
The h a i r mass
H e i g h t i s a l s o i m p o r t a n t and is.
a c c e n t u a t e d by t h e c h e s t s h a p e and t h e n e c k .
The s u r f a c e t r e a t m e n t o f b o t h s to n e s , was m eant t o d e v e l o p c o n t r a s t .
h a v e n ' t f o u n d p o l i s h i n g t o b e a n i n t e g r a l p a r t o f e i t h e r p i e c e , and so f a r
I .
39
f o r me i s an u n n e c e s s a r y and o f t e n d a n g e r o u s ■r e f i n e m e n t , e s p e c i a l l y f o r t h e
stu d e n t.
The g l o s s y . sm ooth s u r f a c e t h a t r e s u l t s i s u s u a l l y t a k e n t o b e t h e
s ig n o f a c o m p le te ly r e f i n e d " p r o f e s s i o n a l " p i e c e . o f s c u l p t u r e .
But s u r f a c e
c a n e a s i l y become an end. i n . i t s e l f , t h u s m ak in g s h a p e i n s i g n i f i c a n t , and
shape, not s u r f a c e , i s
t h e m o st i m p o r t a n t i n s c u l p t u r e .
I n d e v e l o p i n g an i d e a f o r t h e s e p i e c e s I w e n t from t h e i d e a t o draw ­
in g s,
th en to c la y s t u d i e s .
J u s t as t h e d r a w in g s a r e . s t a r t i n g p l a c e s f o r
the- c l a y s t u d i e s s o a r e t h e s t u d i e s a b e g i n n i n g t o t h e s t o n e .
The c l a y
m o d els p r o v i d e t h e b a s i c s h a p e and s i z e o f t h e s t o n e , b u t t h e y do n o t
p r e d i c t th e f in i s h e d w o rk .
I n b o t h s t o n e s t h e a n g l e o f ; t h e h e a d was
c h a n g e d an d t h e h | a i r m ass was e i t h e r s t a r t e d fro m t h e b e g i n n i n g o r e x p a n d e d .
The h e a d s t h e m s e l v e s w e re n o t d e v e l o p e d i n t h e s t u d i e s , a n d . t h e p r o b le m o f .
t e x t u r e was l e f t o p e n .
p l a c e .in c a r v i n g .
The u s e o f c a l i p e r s o r a p o i n t i n g m a c h in e h a v e no
The o b j e c t i s n o t t o make a d u p l i c a t e o f a s t u d y , b u t . t o
c r e a t e a p i e c e o f s c u l p t u r e t h a t h a s -an e n e r g y and v i t a l i t y
of its
own.
THE DEVELOPMENT OF TWO STONES
41
42
43
44
45
46
47
J
48
49
50
CONCLUSIONS
T h e re i s one m ain c o n c l u s i o n t h a t d e v e l o p e d d u r i n g t h e r e s e a r c h f o r
th is
t h e s i s and t h a t i s
th a t a l l fo u r a r t i s t s
s t a r t i n g p o i n t - t h e human h e a d and f i g u r e .
d i s c u s s e d h a v e t h e same
I n s p i t e o f t h e w id e v a r i e t y
t h a t t h e i r w ork r e p r e s e n t s a l l b e g a n w i t h t h e s t u d y o f t h e human form and
a l l e x c e p t B r a n c u s i made i t . t h e
fo cal p o in t of th e ir a r t .
By t h e i r e x a m p le i t i s o b v i o u s - t h a t t h e s t u d y o f t h e f i g u r e can l e a d
i n many d i r e c t i o n s .
I t can become t h e - c e n t e r o f an a r t i s t ' s
e ffo rts or
a ju m p in g o f f , p o i n t .
I n any c a s e , . i t does p r o v i d e a s t a r t i n g p l a c e and a b a s i s fro m w hich
t o grow an d d e v e l o p .
T h is b e g i n n i n g can b e i n t e r e s t i n g an d e x c i t i n g ,
sim p ly b e c a u s e i t in v o lv e s o u r s e l v e s .
I t is because I b e lie v e th a t a r t is
a d e e p ly p e r s o n a l e x p e rie n c e t h a t t h i s i s im p o r ta n t.
A lso , I f e e l th a t a
re n e w e d f a i t h i n t h e s t u d y o f t h e human fo rm an d i t s p o s s i b i l i t i e s
a n e e d e d f r e s h n e s s an d v i t a l i t y
t o much o f c o n te m p o r a r y a r t .
can add
53
LITERATURE CONSULTED
1.
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t h e U n a p p r o a c h a b le " ., The S t u d i o , J a n u a r y , 1964, v o l . 167, p p . 2 0 27.
2.
C a n a d a y , J o h n , E m b a t t l e d C r i t i c , Views on M odem A r t , Noonday P r e s s ,
New York , 1959.
3.
C a n a d a y , J o h n , M a in s tr e a m s o f Modern A r t , H o l t , R i n e h a r t , an d W in s t o n ,
New Y o r k , 1959.
4.
C a n a d a y , J o h n , "The R o d in R e v o l u t i o n " , The New York Times M a g a z i n e ,
J u n e 9 , 1 963, p p . 3 6 - 3 7 .
5.
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6.
F a l l i c o , A r t u r o -B. , A r t a n d E x i s t e n t i a l i s m , P r e n t i c e - H a l l , I n c . ,
Englew ood , C l i f f s , New J e r s e y , 1962.
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G ie d ip n -W e I c k e r , C a r o l a , C o n s t a n t i n B r a n c u s i , G eorge B r a z i d l e r , I n c . ,
New Y o r k , 1959.
8.
H o d i n , J . P . , M o o re , U n i v e r s e B o o k s , I n c . , New York , 1959.
9.
H o ffm a n , M a l v i n a , " M e s t r o v i c " , C o l g a t e A r t G a l l e r y E x h i b i t i o n C a t a ­
l o g u e , H a m i l t o n , New Y o rk , 1963.
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56
18 .
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0Ir
PATE DUE
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V r i 0V C- IT ' K r , "
Oemco,Inc.38*293