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Such a conjunction of different formal principles and was not uncommon in Brancusi's work: despite his reputation for being a sculptor who created simplified, unitary forms, the bases of many of his works suggest a deliberate courting of disjunction. Power (1899-1993), one the great collectors of post-war international art in Britain.
As totalities, however, the sculptures and their bases create a tense interplay of ideas that give the works their characteristic vitality. Further reading: Pontus Hulten, Natalia Dumitresco, Alexandre Istrati, Constantin Brancusi, Paris 1995, catalogue no 161, p.305, reproduced p.179Constantin Brancusi 1876-1957, exhibition catalogue, Philadelphia Museum of Art 1995, catalogue no.
The group is challenged to apply the most lotion to beach-goers, grab as many groceries from other customers at a grocery store as they can, survey amusement park guests at Six Flags Great Adventure, and pay the least at a frozen yogurt shop.
Punishment: Sal has to make up a song called "Butterfly Crime Scene" to sing to hundreds of spectators at a baseball stadium.
In 1926 he made a further three bronze Fish pieces, each of which has a different wooden base.
Punishment: Joe goes to the boardwalk and has to put a stranger's toe in his mouth.
If I made fins and eyes and scales, I would arrest its movement and hold you by a pattern, or a shape of reality.
I want just the flash of its spirit' (Malvina Hoffman, Sculpture Inside and Out, New York 1939, p.52).
Brancusi, who was Romanian but lived in Paris from 1904, worked in series, returning to a small number of motifs time and time again in order to develop and reinterpret his vision of a subject. The first, dating from 1922 (Philadelphia Museum of Art), was a veined marble work set on a circular mirror, which in turn was supported by a carved oak base.
Two years later Brancusi made two hand-finished of similar size, one of which was destroyed, while the other has lost its original base.