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| Like Brancusi, Hungarian-born Margit Pogany came from Central Europe to study art in Paris. She met the sculptor in 1910. When she asked him to make her portrait, Brancusi not only created the bronze Mademoiselle Pogany I (in the collection of the Museum of Modern Art, New York) as a gift to the model, but also worked on various versions within the following two decades. Mademoiselle Pogany III was the artist’s final treatment of the subject. As Brancusi scholar Sidney Geist points out, it is unlike many of Brancusi’s other sculptures in that its "profiles are revealed in a series of surprises"* as the viewer moves around the piece.
From a certain viewpoint in the gallery, this portrait can be compared with other modern attempts to link sculptural forms to individuals, such as Serra’s homage to Janis Joplin (n. 14) and Brancusi’s other portrait in this installation, Agnes E. Meyer (n. 18). The latter can be perceived in profile through the opening to the Cube Gallery.
* Sidney Geist, Modern Painting, Drawing and Sculpture Collected by Louise and Joseph Pulitzer Jr., Fogg Art Museum, 1971, p.358. |
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