BRANCUSI: The Eye behind the sculpture.

BRANCUSI: The Eye behind the sculpture.

Rue Etienne-Dumont 2 Geneva, 1204, Switzerland Wednesday, November 18, 2020–Monday, December 28, 2020

Grob Gallery is pleased to present an exhibition of BRÂNCUȘI. As an icon of the 20th century and as the hero of Modernism, we would love to invite you to view our 11 photographic works by Constantin Brâncuși

mlle pogany, vue de trois-quarts by constantin brancusi

Constantin Brancusi

Mlle Pogany, vue de trois-quarts, 1920

Price on Request

timidité, bouquet en surimpression by constantin brancusi

Constantin Brancusi

Timidité, Bouquet en surimpression, 1928

Price on Request

maquette for the gate of the kiss by constantin brancusi

Constantin Brancusi

Maquette for the Gate of the Kiss, 1935–1937

Price on Request

maquette for the gate of the kiss by constantin brancusi

Constantin Brancusi

Maquette for the Gate of the Kiss, 1935–1937

Price on Request

torse de jeune femme by constantin brancusi

Constantin Brancusi

Torse de Jeune Femme, 1921–1925

Price on Request

mlle pogany 11, vue de trois-quarts  by constantin brancusi

Constantin Brancusi

Mlle Pogany 11, vue de trois-quarts , 1920

Price on Request

BRANCUSI: The Eye behind the sculpture.


Grob Gallery is please to present an exhibition of BRÂNCUȘI. As an icon of the 20th century and as the hero of Modernism, we would love to invite you to view our 14 photographic works by Constantin Brâncuși & 3 works by his dear friend Florence Homolka. 


Constantin Brancusi’s photographs give us the great sculptor’s eye—how he saw his sculpture and wanted his viewers to regard it in turn. Many of his photographs were taken in the studio, capturing the works as the light hit them there, the curve of a polished bronze splicing the hard edges of another in the background. These photographs are significant in part as a preservation project. Of his relatively small output of 215 known works, more than 40 from his early period have been lost or destroyed and are only known from the photographs. Brancusi must have suspected that this relatively new technology would remain as patina faded or marble cracked, driving his commitment to document all his works himself. But Brancusi was also someone who delighted in this medium, experimenting with exposures and carefully composing each print to take photographs that stand as works of art in their own right.