Creation of *Baiser* 1909 (≈ 1909)
Third version carved by Brancusi.
1910
Tania Rachevskaya suicide
Tania Rachevskaya suicide 1910 (≈ 1910)
Order of the monument by Dr. Marbais.
fin 1910 - début 1911
Installation of the grave
Installation of the grave fin 1910 - début 1911 (≈ 1911)
Place *Baiser* and base.
21 mai 2010
Historical Monument
Historical Monument 21 mai 2010 (≈ 2010)
Full protection of the grave.
Aujourd'hui
Aujourd'hui
Aujourd'hui Aujourd'hui (≈ 2025)
Position de référence.
Heritage classified
In total, the tomb of Tania Rachevskaya, with the sculpted group The Kiss of Constantin Brancusi and its base forming stele (see plan attached to the decree), concession No 191P1910, section 22, no 265: inscription by decree of 21 May 2010
Key figures
Tania Rachevskaïa - Russian student
Subject of the monument, died in 1910.
Docteur Marbais - Sponsor of the monument
Friend of Brancusi and Tania.
Constantin Brancusi - Romanian sculptor
Author of *Baiser* (1909).
Origin and history
The tomb of Tania Rachevskaya, in section 22 of the Montparnasse cemetery in Paris (14th arrondissement), is distinguished by its funerary monument created at the beginning of the 20th century. It includes an epigraphed base and an iconic sculpture, Le Baiser (1909), third version of a series made by Constantin Brancusi between 1907 and 1940. The sculptor's signature appears at the bottom of the base, attesting to its authenticity. This monument, installed in late 1910 or early 1911, has been classified entirely since 2010, including the stele and concession n°191P1910.
Tania Rachevskaya, a Russian student, committed suicide in 1910 out of despair in love for Dr.Marbais, close to Brancusi. In tribute, the latter commissioned the artist to a funeral monument, choosing Le Baiser to symbolize their tragic history. The doctor and Brancusi, both from Romania, share a cultural connection that influences this memorial project, mixing avant-garde art and personal emotion.
The Baiser de Brancusi, with its clean forms and symbolism, marks a turning point in the funeral art of the 20th century. The tomb, owned by the commune of Paris, illustrates the intersection between private life and artistic heritage. His inscription in the Historical Monuments in 2010 highlights his historical, aesthetic and sentimental value, while anchoring Brancusi in the Parisian landscape, where he lived and worked.
