Hobitza, Romania 1876 - Paris 1957
Le nouveau-né, version I
The Newborn, version I
Dimensions (HxWxD): 5 3⁄4 x 8 1⁄4 x 5 3⁄4 in.
Acc. No.: 605.1943
Credit Line: Acquired through the Lillie P. Bliss Bequest (by exchange), 1943
Photo credit: http://www.moma.org
- 1943, Acquired through the Lillie P. Bliss Bequest (by exchange)
- Museum's website, April 5, 2013
- 1952 Ritchie
Andrew Carnduff Ritchie, Sculpture of the Twentieth Century, 1952, repr. p. 112
- 1967 NY MoMA Barr
Alfred H. Barr, Painting and Sculpture in The Museum of Modern Art, 1929-1967, New York, 1967, ill. 108
- 1968 Geist
S. Geist, Brancusi: A Study of the Sculpture, New York, 1968, no. 87a
- 1977 NY MoMA Legg
Painting and Sculpture in The Museum of Modern Art, with Selected Works on Paper. Catalogue of the Collection, January 1, 1977, Edited by Alicia Legg, New York, The Museum of Modern Art, 1977, p. 17
Museum's website 3 février 2010
- 2018-2019 New York
Constantin Brancusi Sculpture, Organized by Paulina Pobocha with Mia Matthias, New York, The Museum of Modern Art, July 22, 2018-February 18, 2019
- close to the marble of 1915
- Museum's website, curator Ann Temkin, 9 August, 2012:
Brancusi originally came from Romania. He lived in the middle of Paris, but wore peasant clothes, cooked on his forge and lived a very, very non-materialistic life.
What makes one Brancusi sculpture work is in fact what makes the whole ensemble of them work: its contrast between what are often very different shapes, textures, and colors.
Brancusi's work was spoken about by critics as very simple. And he, too, liked to speak of it as just the essential. And for this reason, people who took him at his word really misunderstood his work because to make something look simple is the hardest thing of all. To get a cruciform just right, to get the balance of an oval just right, to get the soaring, abstracted concept of a bird right, to get that sense of grace, that sense of balance, is really the work of extreme skill.