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The real message of Brancusi's sculptures

Letters

In Morgan Falconer's review 'Unearthly delights' (AJ 5.2.04), the section on Constantin Brancusi contains some misinterpretations.

Firstly, Brancusi was Romanian, not Hungarian; some of his large-scale works are found in the parks of Targu-Jiu, Romania, and I should mention The Gate of Kiss, The Endless Column or The Table of Silence.

I cannot believe the superficiality of Falconer's comments, especially at a time when Tate Modern in London and Kettle's Yard in Cambridge are exhibiting Brancusi's works.

Can't Falconer go beyond their highly polished surfaces?

We are looking not at a 'strange bedfellow of enthusiastic Modernists' because of Brancusi's 'attachments to the land', as Falconer puts it, but to a Modernist who saw further than the Modern Movement towards reintegrating the rationalised form with nature.

It is not the Classical artists revealing the truthful portrait out of the stone block, nor Modern ones asking you to feel something viewing a cube; it is simplified bodily forms organised by dramatic intersections of axes and angles in a posture as expressive as any Venus - nonetheless, the nature, the stone, the un-rationalised volume is still there. Nature was, ultimately, Brancusi's supreme master.

I would urge everyone to visit the two exhibitions - the message carved in stone, wood or bronze is easy to see. It is so simple that it becomes essence.

Something hard to find at any time.

Adrian Ranete, Studio G, Warwickshire

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