Figurines, small artifacts made of clay or other material, were the typical form of art in Old Europe. No other ancient civilization produced a comparable abundance of figurines over such a long period of time, made from clay (glazed and unglazed), stone (mostly marble), metal (mostly gold) and, increasingly from wax as well. The latter we know because the terminology of the production of wax figures has been preserved in the vocabulary of ancient Greek through loanwords from the Old European substrate language. It demonstrates the long-standing tradition of figurine-making, dating from Old Europe and persisting through the Bronze Age and ancient Greece. The figurines seem to appeal to all human senses, ranging from their visible corporeality to the most sophisticated metaphorical meaning that might be evoked in the perceptive mind. This exquisite appeal makes understandable how and why a sensational reflection of the Old European spirit in art occurred in the late nineteenth century with the work of Constantin Brancusi (1876–1957). It is clear from Brancusi’s biography that the main source of inspiration, during his early years, came from the prehistoric imagery of his home country Romania. The impression of Brancusi’s inspirations, from art work of the distant past, reached further after 1904, once he had moved to France. The major museums for prehistoric art in Paris, the Musée du Louvre and the ethnographical collection of the Musée de l’Homme, offered insights into Old European imagery. The revitalization of the Old European artistic tradition in the works of Constantin Brancusi is the achievement of one single individual, without the cooperative efforts of a group of activists. Brancusi’s outstanding work was the beginning of the movement of modern art.