The Studio on Impasse Ronsin | p. 8 |
1876-1907 Youth | p. 14 |
A Dual Culture: Eastern and Popular | p. 16 |
An "Initiate" in Search of Adventure | p. 22 |
Photographic Mise en Scene | p. 28 |
Wood: the Great Discovery | p. 30 |
First Major Work: The Prayer | p. 38 |
Sheer Emotional Power: The Kiss | p. 48 |
1908-1912 Maturation | p. 60 |
Intense Experimentation | p. 62 |
Modigliani and "Negro" Art | p. 72 |
Sleeping Muse and the Ovoid Faces | p. 78 |
Maiastra, the Fabulous Bird | p. 88 |
Life in Montparnasse, 1910-1920 | p. 94 |
Mademoiselle Pogany | p. 104 |
1913-1918 First Successes | p. 112 |
The Forst Solo Exhibition and the Beginnings of a Reputation | p. 114 |
The First Step: an Ambiguous Return to Africa | p. 122 |
The First Endless Column | p. 134 |
Return to the Ovoid: The Newborn | p. 142 |
The Princesse X Scandal | p. 148 |
1919-1937 Soaring | p. 158 |
Birds and a Bestiary | p. 160 |
Duchamp, Friendship and Love Affairs | p. 178 |
Paul Morand: Brancusi, "A Sculptor of the People" | p. 186 |
Big Cocks | p. 188 |
Brancusi v.s. Unites States Trial | p. 202 |
Nancy Cunard, a "Sophisticated Young Woman" | p. 206 |
Three Birds Move into Indore | p. 212 |
1938-1957 Apotheosis | p. 222 |
Tirgu-Jiu | p. 224 |
A New Bird and Variants on The Kiss | p. 232 |
Peggy Guggenheim Remembers | p. 236 |
Ionesco's The Chairs in Brancusi's Studio | p. 242 |
A Place of Magic Lost | p. 250 |
Notes | p. 252 |
Bibliography | p. 254 |
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