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About This Artwork
11 1/2 x 11 3/8 x 8 3/4 in. (29.2 x 28.8 x 22.3 cm)
Signed: "C. Brancusi 1907"
Through prior restricted gifts of a Friend of the Art Institute of Chicago, Kate L. Brewster, Mr. and Mrs. Carter H. Harrison, Mr. and Mrs. Seymour Oppenheimer, and Joseph Winterbotham; Major Acquisitions Centennial Fund, 1985.542
St. Louis, City Art Museum, Four Modern Sculptors: Brancusi, Calder, Lipchitz, Moore, March 20–May 1, 1946, cat. 1 (ill.); traveled to Cincinnati Art Museum, October 1–November 15, 1946.
Houston, Museum of Fine Arts, Seventy-five Years of Sculpture, November 1953, n.p., cat. 11 (ill.), as Boy.
New York, Solomon R. Guggenheim Museum, Constantin Brancusi, October 26, 1955–January 8, 1956; traveled to Philadelphia Museum of Art, January 27–February 26, 1956.
Philadelphia Museum of Art, September 23–November 15, 1969 Constantin Brancusi 1876–1957: A Retrospective Exhibition, p. 37 (ill.), as Torment II; traveled to; New York, Solomon R. Guggenheim Museum, November 21, 1969–February 15, 1970; Art Institute of Chicago, March 14–April 26, 1970.
Bucharest, Museum of Art of the Socialist Republic of Romania, Constantin Brancusi 1876–1957, June 1970, cat. 6 (ill.); traveled to The Hague, Gemeentemuseum, September 19–November 29, 1970, pp. 45–46, p. 76 (ill.), cat. 6, as Kwelling II.
Paris 1985; traveled to Lugano, cat. 15 (ill.).
Paris, Centre Georges Pompidou, Constantin Brancusi: 1876–1957, April 14–August 21, 1995, pp. 86–87 (ill.), cat. 6, as Le Supplice [II]; traveled to Philadelphia Museum of Art, October 8–December 31, 1995.
Ritchie, Andrew, Sculpture of the Twentieth Century (New York: Museum of Modern Art, 1952), p. 60 (ill.), as Boy.
Houston Museum of Fine Arts, Seventy-five Years of Sculpture exh. cat. (Houston Museum of Fine Arts, 1953), n.p., cat. 11 (ill.), as Boy.
Life (December, 1955). repro.
Lewis, David, Constantin Brancusi (New York: George Wittenborn Inc., 1957), pp. 11, cat. 4, as Bust of a Boy (La Supplice).
Jianou, Ionel, Brancusi (New York: Tudor Publishing Co., 1963), p. 90, as Pain (Head of a Child), 1906.
Geist, Sidney, “Letter to the Editor,” Art Bulletin, v. 48, nos. 3–4 (September–December 1966), p. 463, as Torment II.
Spear, Athena T., “Letter to the Editor,” Art Bulletin, v. 48, nos. 3–4 (September–December 1966), p. 465, as Child’s Bust, Torment.
Geist, Sidney, Brancusi, A Study of the Sculpture (New York: Grossman Publishers, 1968), pp. 22, 23, (ill.), 24, 215, cat. 31a, fig. 31, as Torment II.
Geist, Sidney, Constantin Brancusi 1876–1957: A Retrospective Exhibition (New York: Solomon R. Guggenheim Museum, 1969), p. 37 (ill.), as Torment II.
Gemeentemuseum, Constantin Brancusi 1876–1957 exh. cat. (The Hague, Gemeentemuseum, 1970), pp. 45–46, p. 76 (ill.), cat. 6, as Kwelling II.
Geist, Sidney, Brancusi: The Sculpture and Drawings (Harry N. Abrams, Incorporated, 1975), p. 43 (ill.), 174, cat. 37a, as Torment II.
Brazianu, Barbu, Brancusi in Romania (Bucharest: Editura Academiei, 1976), p. 94 (n. 1).
Art Institute of Chicago, Mosaic (July/August 1986), p. 8 (ill.), as Torment II.
Bach, Friedrich Teja, Constantin Brancusi: Metamorphosen Plasticher Form (Cologne: Dumont Buchverlag, 1987), pp. 417 (ill.), 418, cat. 63a, as Die Qual II (Le Supplice II).
Hulten, Pontus, Natalia Dumitresco, and Alexandre Istrati, Brancusi (Flammarion, 1987), p. 278 (ill.), cat. 32b.
Andreotti, Margherita, “Brancusi’s Golden Bird: A New Species of Modern Sculpture,” Museum Studies 19, no. 2 (1993), pp. 137, 198, n. 1.
Tabart, Marielle, Brancusi: l’inventeur de la sculpture moderne (Gallimard/Centre Georges-Pompidou, 1995), p. 22 (ill.), as La Supplice II.
Tabart, Marielle, Les carnets de l'atelier Brancusi, La série et l'œuvre unique: Le portrait? (Éditions du Centre Pompidou, 2002), p. 77, note for cat. 15, as Le Supplice II.
Mrs. Farquhar, Paris 1910/1911 [Geist 1975 and Paris 1995]. Lydia A. Farquhar (Mrs. Percival Farquhar), New York, 1946 [Paris 1995]. Buchholz Gallery/Curt Valentin Gallery, New York, by 1946–at least 1953 [Paris 1995 and Houston 1953]. Richard S. Davis, Waysata, Minn., about 1954–1985; by descent to the Estate of Richard S. Davis, 1985; sold to the Art Institute, 1985.