| |
|
| |
|
| |
|
| |
|
| |
|
| |
|
| |
| Originally, Brancusi conceived Adam and Eve as separate entities (see also photo n. 29, 32, 33, and 35 in the Lower Gallery). Rounded forms make Eve (the top figure) appear explicitly feminine, but her overall composition is phallic; angular forms characterize Adam as masculine, but from the back his head seems to be adorned by a cascade of long “feminine” hair. Due to the rounded head of Eve only the female sculpture can be stacked on the male sculpture, which creates the impression that “… the Adam is submissive, secondary – a table – and the Eve triumphant and erect.”* Could this representation of Eve be a reference to Lilith, who according to Hebrew legend was Adam’s rebellious first wife? Brancusi would probably have denied this or other gender-based hypotheses categorically, as he did when responding to questions about the sexual ambiguity of some of his other sculptures.
* S. Burton, Artist’s Choice: Burton and Brancusi, MoMA, New York, 1989. |
|
| |
|
| |
|
| |
|
