A pupil of Henri Focillon with a special interest in pre-Columbian art, George Kubler had applied a methodology initially conceived for the study of primitive cultures to that of visual art. The American artist Robert Morris was well aware of the difficulties of applying Kubler's diachronic concepts to the work of a single artist in his Master thesis. Still, the peculiar character of Brancusi's sculptures, marked by constant reiteration of similar themes and realised as long sequences of closely related forms, seem to have convinced him that this was indeed possible. However, in the process of working on his thesis, and as his interest in phenomenology increased, Morris clearly began to be doubtful about Kubler's taxonomic criteria. This may be why his readings of Brancusi's work afford glimpses of an alternative and more personal point of view, one connected with his own minimal and conceptual aesthetic of the period.

La forma del tempo nell'opera di Brancusi: Robert Morris e le categorie di George Kubler / A. Nigro. - In: LETTERATURA & ARTE. - ISSN 1724-613X. - STAMPA. - 12:(2014), pp. 151-171.

La forma del tempo nell'opera di Brancusi: Robert Morris e le categorie di George Kubler

NIGRO, ALESSANDRO
2014

Abstract

A pupil of Henri Focillon with a special interest in pre-Columbian art, George Kubler had applied a methodology initially conceived for the study of primitive cultures to that of visual art. The American artist Robert Morris was well aware of the difficulties of applying Kubler's diachronic concepts to the work of a single artist in his Master thesis. Still, the peculiar character of Brancusi's sculptures, marked by constant reiteration of similar themes and realised as long sequences of closely related forms, seem to have convinced him that this was indeed possible. However, in the process of working on his thesis, and as his interest in phenomenology increased, Morris clearly began to be doubtful about Kubler's taxonomic criteria. This may be why his readings of Brancusi's work afford glimpses of an alternative and more personal point of view, one connected with his own minimal and conceptual aesthetic of the period.
2014
12
151
171
A. Nigro
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Utilizza questo identificatore per citare o creare un link a questa risorsa: https://hdl.handle.net/2158/894528
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