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| According to the artist, “Walking through the interior passage of the spiral, you have an experience of space that is distinct at each and every point as the walls lean towards you or away from you or become parallel. When you walk between the walls, you become implicated in the tremendous spiraling force of the movement… The sculpture is understood behaviorally as a function of time.”*
Engaging the viewer physically, the concept of this artwork forms a parallel with Brancusi’s Bench (n. 4) and Stool (n. 3), which were initially meant to be used as furniture.
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Aristide Maillol (1861 – 1944)
Torso, Study for Venus (1925 and cast 1960), Bronze
Private collection, St. Louis
This depiction of a woman’s torso is both classicizing and realistic. Although motivated by the aesthetics of the fragment, the cuts removing the arms, legs and head seem to have an abstract rhythm. Both Maillol and Brancusi, roughly contemporaries and both working in Paris at the same time, take quite different approaches to the depiction of the female torso. Maillol’s Torso, a naturalistic rendition of the female body, is made by skillfully placed cuts reflecting what had become thought of as a classical form. Brancusi, on the other hand, reflects with Torso (n. 10) on the history of creation and with Torso of a Young Girl (n. 39) on the creation of physical presence by the means of abstracted forms. |
* Abstractions in Space, The Pulitzer Foundation for the Arts, St. Louis 2001, p. 61. |
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