SEGONZAC
Pasturage
Brancusi—so simple, so severe in its beauty, it might have come from the Orient.
Of this head and two other pieces of sculpture exhibited by Brancusi in July, 1913, at the Allied Artists’ Exhibition in London, Roger Fry said in “The Nation,” August 2:
Constantin Brancusi’s sculptures have not, I think, been seen before in England. His three heads are the most remarkable works of sculpture at the Albert Hall. Two are in brass and one in stone. They show a technical skill which is almost disquieting, a skill which might lead him, in default of any overpowering imaginative purpose, to become a brilliant pasticheur. But it seemed to me there was evidence of passionate conviction; that the simplification of forms was no mere exercise in plastic design, but a real interpretation of the rhythm of life. These abstract vivid forms into which he compresses his heads give a vivid presentment of character; they are not empty abstractions, but filled with a content which has been clearly, and passionately apprehended.
Futurist sculpture, like Futurist painting, starts with a fundamental departure.
All sculpture, classic as well as Impressionistic and Post-Impressionistic, deals with an object or a group of objects. It models and reproduces them detached from their environment.