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Conservation

How to fly Brancusi's Birds

Photo image of two curved and slim abstract sculptures, one in black and one in white

Constantin Brancusi, L'Oiseau dans l'espace [Bird in space], c.1931-36, National Gallery of Australia, Kamberri/Canberra, Purchased 1973. © Constantin Brancusi. ADAGP/Copyright Agency.

Installing Birds in space by Constantin Brancusi is a complex, delicate procedure, writes National Gallery Conservator, Objects, Beata Tworek-Matuszkiewicz.


1 August 2022
In Behind the Scenes
Read time 6 minutes

'Brancusi’s Bird in space, for me, is one of the most compelling works in the collection — and, arguably, the best the artist ever made. Its scale and magnitude is magical; it transports you somewhere else.'
NICK MITZEVICH, DIRECTOR

Brancusi's L'Oiseau dans l'espace [Birds in space] are masterpieces. Made between 1931–1936 for the Maharaja of Indore, they are the culmination of a long series of sculptures based on themes of birds and flight. Significantly, the National Gallery's Birds in space are the biggest marble sculptures of the series which – unlike others – survived without sustaining any major damage. Birds in space are made of polished marble, each constructed from two pieces of stone joined at the waist with a stainless-steel dowel. This area is extremely fragile with numerous cracks, with a thin layer of stone surrounding the metal rod.

Black and white X-Ray detail of black sculpture

X-Ray detail of Constantin Brancusi, L'Oiseau dans l'espace [Bird in space], c. 1931-36

Black and white image of a bacl sculpture, with details of cracks digitally highlighted in purple

Constantin Brancusi, L'Oiseau dans l'espace [Bird in space] detail of damage

The Birds in space's construction – a heavy top joined to a small and thin bottom – makes these sculptures very fragile and difficult to move. For this reason, these sculptures had not been relocated since their original installation in 1982 until 1995. A special system was devised in 1995 to rigidly hold and secure each of the Birds during their deinstallation and journey through the building. A frame with a collar immobilises the sculpture on its base while a custom-made fibreglass shell encapsulates and secures the work of art.

A black tall sculpture is held together with a specially designed scaffold system

Constantin Brancusi, L'Oiseau dans l'espace [Bird in space] – Frame and collar support

Colour photo of art handlers surround a white tall narrow sculpture installing half of the fibreglass shell placed on the sculpture

Constantin Brancusi, L'Oiseau dans l'espace [Bird in space] c. 1931-36 with fibreglass shell

Colour photo of both Birds secured in their shells and ready for the lift-off

Constantin Brancusi, L'Oiseau dans l'espace [Bird in space] c. 1931-36 Birds secured in their shells and ready for the lift-off.

Colour photo of Scaffolding and gantry system for lifting the Birds

Constantin Brancusi, L'Oiseau dans l'espace [Bird in space] c. 1931-36 with scaffolding and gantry system for lifting the Birds

Colour photo of the Birds being lifted onto their plinths

Detail of Constantin Brancusi, L'Oiseau dans l'espace [Bird in space] c. 1931-36 being lifted

Each installation/deinstallation takes several weeks and requires a team of highly skilled and specialised conservators, technicians, and art installers.

Colour photo of a group of people posing and smiling

The Brancusi Team

For more from Conservation on Brancusi’s Birds in space read The Flight of Brancusi Birds: De-Installation and Packing of Two Marble Sculptures.

This story has been published as part of the National Gallery's 40th Anniversary. For more visit 40 Years.


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Constantin Brancusi

L'Oiseau dans l'espace [Bird in space]
c.1931-36

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Constantin Brancusi

L'Oiseau dans l'espace [Bird in space]
c.1931-36

Constantin Brancusi

L'Oiseau dans l'espace [Bird in space]
c.1931-36

Creator Profile

Constantin Brancusi

1876-1957

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