Abstract
There is a great deal of controversy regarding Brancusi's person: was he a bearded peasant living in isolation in his Paris atelier, or was he a sophisticated intellectual? In my view he was both; as part and parcel of his avant-garde environment he reached back to his peasant background and utilized the folk elements in a new context. This paper is the synopsis of a dissertation (The Sculpture of Brancusi in the Light of His Rumanian Heritage, University of Pittsburgh, 1973) to explain this specific dualism in Brancusi's personality and art. Most Western analysts of Brancusi's art believe that the unfamiliar features in his work grew out of an assimilation of African sculpture. I have tried to refute this belief and prove that the source of the above-mentioned features is to be found in Brancusi's Rumanian background.
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