Relevant bibliographies by topics / Moldovan Painting

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Academic literature on the topic 'Moldovan Painting'

Author: Grafiati
Published: 4 June 2021
Last updated: 26 July 2024

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Journal articles on the topic "Moldovan Painting"

1

Munteanu, Angela. "LANDSCAPE, COLORED PASSION IN THE CREATION OF ARCHITECT EUGEN BOGNIBOV." Journal of Social Sciences IV, no. 4 (December 2021): 36–43. http://dx.doi.org/10.52326/jss.utm.2021.4(4).04.

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The landscape genre is painting and contemplation through the creation of the architect and professor, doctor of architecture, associate professor Eugen Bognibov, from the Department of Architecture, Faculty of Urbanism and Architecture, Technical University of Moldova. The landscape was certainly one of the favorite types of painting of professional artists, but also for lovers of beauty. The predilection of the architect and painter Eugen Bognibov for the landscape genre can be explained by the fact that the Moldovan lands offer an enormous variety of views and possibilities to practice the landscape: reliefs, forested hills, hills, steppes, roads winding through vineyards, and orchards, cities and villages, water pools, architectural monuments of stone and wood, a true cultural heritage of the country. And the author remarks that the painting dedicated to the architect and professor Eugen Bognibov represents the state of lyricism and harmony, is the link between man and nature, which is distinguished by the colorful freshness of urban, rural, forest landscapes, etc. Various painted views of the historical area of his hometown, Chisinau, images of the morning city bathed in the rays of the generous sun or landscapes near the village of Butuceni, etc. Therefore, the motivation for painting and landscape became for the architect Eugen Bognibov, a free manifestation of his creation through paintings with saturated colors, works presented in various exhibitions
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Munteanu, Angela. "PERCEPTION OF STYLE INFLUENCES IN ARCHITECTURAL SPACE." JOURNAL OF SOCIAL SCIENCES 6, no. 2 (July 1, 2023): 59–67. http://dx.doi.org/10.52326/jss.utm.2023.6(2).05.

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This research presents a theoretical study, which reflects the importance, possibilities, and character of stylistics observed in some periods of time and manifested in objects and interior elements in public or private architectural spaces in Moldova. The author reflects on the role of research by observing and exploiting the stylistic interference of other cultures and nations, the creations of representatives in the field, and by forming a complex picture of the Moldovan interior space. The influence of stylistic elements on the interior space in different periods of time is elucidated, observed, and implemented in the residential or non-residential space through form and constructive materials, interior design, organization and zoning, furniture, stylistic detailing, but also through visual arts in painting and graphics, real historical portraits, landscape paintings, interiors from different localities and periods of time, demonstrating the undeniable richness of the cultural heritage of the Republic of Moldova, but also the need for research and exploitation of the national treasure.
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3

Madan, Elena. "ARTISTIC ASPECTS OF TRADITIONAL BESSARABIAN FURNITURE (LATE 19TH CENTURY - MID-20TH CENTURY)." Journal of Social Sciences VI, no. 4 (January 2024): 52–66. http://dx.doi.org/10.52326/jss.utm.2023.6(4).05.

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The study focuses on the artistic aspects of traditional furniture from Bessarabia, dating from the late 19th century to the mid-20th century. We emphasize the importance of materials, decorative techniques, artistic means, and decorative structure in the crafting and decorating of traditional furniture. The motivation for this research lies in analyzing how the culture and folk art of Moldova are reflected in the characteristics of traditional furniture. The specific hypothesis of this study posits that Moldovan traditional furniture represents an expression of the talent and artistic sense of the craftsmen and householders from Moldova. The research aims to conduct a detailed analysis of the materials used, including wood and others, as well as decorative techniques such as carving, sculpture, and painting. The objectives include a comprehensive description of the mentioned materials and techniques. The research methods included documentary analysis, relevant illustrations, and extensive field research in all regions of the Republic of Moldova, spanning the years 2007-2023, contributing to the scientific and applied foundation of the research. The main results consist of highlighting the role of traditional furniture in reflecting Moldovan culture and folk art, providing data and illustrative images to support these aspects.
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4

Komendant, Tatiana. "Artists of the Republic of Moldova within modernity (on the example of works by artists Valeriu Jabinschi and Ion Jabinschi)." Musical art in the educological discourse, no. 4 (2019): 43–50. http://dx.doi.org/10.28925/2518-766x.2019.4.6.

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This paper examines the modern processes in the work of Moldovan artists, the new worldview of the artists of the Republic of Moldova. The conditions created highlight topical issues, expand the creative contacts of artists, form a new viewer. For example, the masters of painting V. Jabinschi and I. Jabinschi analyse the features of their artistic vision of the surrounding reality. Masters-painters in their canvases create an artistic reality filled with the depth of archetypal images of man and the poetic contemplation of the nature of his native land. The world of man and the world of nature are the main components of the modern vision of man in the Universe and in time.
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ROCACIUC, Victoria. "GRAPHIC AND PAINTING CREATION SIGNET BY THE MOLDOVAN VISUAL ARTIST ION SFECLĂ." ART Space 1, no. 4 (2024): 9–18. http://dx.doi.org/10.28925/2519-4135.2024.41.

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The visual artist Ion Sfeclă (19.11.1941-27.05.2020) created several valuable works in various techniques of graphic art and easel painting. In parallel with his creative activity, he worked as a teacher at the Republican College of Fine (Visual) Arts “Alexandru Plămădeală” in Chisinau. Participating in various exhibitions, creative camps, international and national, the artist Ion Sfeclă manifested himself as a talented author of thematic compositions, landscapes, still-lifes and portraits. His watercolor landscapes and etchings, as well as the sketches of illustrations created in the same technique are of the great expressive force. The National Museum of Art of Moldova preserves the series of etching compositions dedicated to the Mihai Eminescu subject, dating from 1983, which can be analyzed as sketches of illustrations and those dedicated to the old city (Chisinau), from 1991. In creation the artist tended to approach philosophically the subjects chosen through associations, metaphors and symbols. The visual artist Ion Sfeclă had an expressive, fresh and at the same time rational artistic vision, managing to unite the content with the plastic form, composition and color. At the heart of his creative pursuits were the images and faces of people, the landscapes, the still0lifes, the rhythm and decorativism, the simplicity and stylization inspired by the folk wisdom and the beauty of the immediate reality. The artist has taken an interesting path from socialist realism to abstract art, from the painting to graphics works keeping the expressive charm of emotions in his creation. Ion Sfeclă’s creation denotes artistic refinement, the poetic sense of nature and colors, a free exploration of graphic and pictorial processes, in combination with original compositional ideas.
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6

Stavila, Tudor. "Iraida Ciobanu, in the three hypostases of her self-affirmation." Akademos, no. 4(63) (March 2022): 150–53. http://dx.doi.org/10.52673/18570461.21.4-63.19.

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Iraida Ciobanu is one of the few plastic artists for whom her creations are synonymous with the genres she practices in painting – static nature and landscape, the most explored forms in rendering poetry and lyrics. Formed as an artist in the early `90s, the artist is devoted to these two genres throughout the time, approaching the landscape as an appeal to the memory arising from lyrical projections, oriented towards the past, while the static nature is a projection of future emotional states. Her works could reveal the following: the static nature returns to the present, being refreshed up by a unique and distinctive compositional, semantic and chromatic style. Moreover, as a professor of fine arts, as well as a scientific researcher concerned with the evolution of static nature as a genre in the post-war Moldovan fine arts, it ensures continuity. Nature and its inexhaustible beauties fully define the artist in a thematic aspect, she finding unique ways to discover continuity in her canvases.
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Procop, Natalia. "Recreational Centers in Chisinau in the Vision of Visual Artists." Supplement 9, no. 1 (July 24, 2021): 116–29. http://dx.doi.org/10.37710/plural.v9i1s_8.

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One of the genres of easel painting that remains less pretentious to politics is landscape. The city of Chisinau, one of the most important cities of the Republic, was and remains a source of inspiration for artists Eugenia Gamburd, Rostislav Ocușco, Mihail Petric, Filimon Hămuraru, Ludmila Țonceva, Vasile Toma, Inesa Țîpina, Petru Jireghea, Ion Jumatii, Ion Chitoroagă, Florentin Leancă and others. That is one of the topics addressed by artists reflecting moments of relaxation, rest, sports - recreational centres (parks, lakes, stadiums etc.). This article analyzes the paintings from the collection of the National Museum of Art of Moldova, but also the private collections of plastic artists concerning the rest areas of Chisinau. These paintings made on the subject under research can be attributed not only to the landscape genre but also, in some cases, to genre painting. The subject becomes current for painters with the arrangement of the capital’s parks: The square of the Ensemble of the Metropolitan Cathedral of Chisinau, the Public Garden of Chisinau, the Botanical Garden, the Valley of Roses park, the Valley of Mills park, the Ghidighici Reservoir, the Dinamo Stadium etc.
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8

Procop, Natalia. "The Modern Chișinău in the painting of Yurii Shibaev." Dialogica. Revistă de studii culturale și literatură, no. 1 (May 2023): 124–31. http://dx.doi.org/10.59295/dia.2023.1.15.

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Yurii Shibaev approached all genres of easel painting, but he established himself with the urban landscape. The plastic artist fell in love with Chișinău. This fact is attested by the numerous works dedicated to the city. In the custody of the Fund of the National Art Museum of Moldova are several urban landscape paintings by Yurii Shibaev: „Chișinău under construction. Râșcani Sector”, „Renewed Chișinău. Circus under construction”, „Râşcanii renewed”, „After the rain”, „The New Chișinău” etc. In his paintings we can see the representations of the old city, but also of the areas with modern elements, which are in constant evolution. The artist wanted to present the beauty of the city with lots of vegetation, populated with people, crowded with public transport: everything being in constant motion. The artist of realistic training tends to work with large decorative spots that are meant to give expressiveness to the painting. The predominant colors in his creation are white, green and gray. Thus, the artist resorts to a limited range of colors, using colored accents in the representation of people and cars. In the paintings „Old Chișinău”, „Chișinău under construction. Râşcani Sector”, „Chișinău is being built”, „The New Chișinău”, „After the rain”, etc. Yurii Shibaev confirms the image of Chișinău as a „white stone city”. Residential, ecclesiastical and cultural buildings are elevated above the rich city with abundant vegetation.
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Toma, L. A. "Жизнеспособные традиции в живописи Сергея Галбена." Iskusstvo Evrazii [The Art of Eurasia], no. 1(20) (March 31, 2021): 50–63. http://dx.doi.org/10.46748/arteuras.2021.01.004.

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The article highlights the stages of the life and work of the artist from the Republic of Moldova — Sergei Galben, who asserts the value of the emotionality of fine arts and viability of traditions of plastic culture, offering an example of their deep development and individual implementation in his works. Though his achievements were marked by awards in different competitions, being also appreciated by critics in press, and many paintings were purchased by museums and private collectors, the artist's creative way wasn't investigated. The author of the article fills this gap, having studied his numerous works and documentary materials. Most of S. Galben's paintings are connected with the images of Moldavian village. Genre motifs are interpreted as a part of the eternal course of life. His inclination for lyrical expression of feelings helps to reflect the spiritual purity and spontaneity of emotions in his portraits of rural residents, painted with great sympathy. Panoramic views and fragmentary sketches recreate the image of Moldova, “breathing” and emitting a soft light. The “landscape vision” of the artist, who lives in harmony with Nature, is also reflected in those rare semi-abstract compositions, characterized by well considered architectonics and correlation of color spots that express the mobility of the atmosphere. The integrity of the creative personality of Sergei Galben is largely due to the organic connection with the land on which he grew up. The artist is close to the ethical basis of the life of the people and the traditions preserved in everyday life, in the forms of folklore. В статье освещены этапы жизни и творчества молдавского живописца Сергея Галбена, известного c 1970-х годов по многим республиканским и международным выставкам. Его достижения отмечались победами в конкурсах, многие полотна хранятся в музеях и частных коллекциях. В 2020 году на ретроспективной выставке его произведений в Национальном художественном музее Молдовы с презентацией альбома «Сергей Галбен» наиболее полно раскрылось своеобразие творческой личности. Картины, разнообразные по мотивам и экспрессивным средствам, выявили гармоническое единение автора с природным миром, открытость эмоций и умение придать живописи свободное дыхание. Творческий путь художника до недавнего времени не исследовался, и автор статьи восполнил этот пробел, изучив его многочисленные работы и документальные материалы. Сергей Галбен утверждает ценность эмоциональности искусства, жизнеспособность традиций пластической культуры, давая пример их глубинного освоения и индивидуального претворения. Труд этого мастера достоин введения в широкий искусствоведческий оборот.
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Stavila, Tudor. "Teodor Buzu's extemporaries: light and singularity." Akademos, no. 2(69) (October 2023): 177–81. http://dx.doi.org/10.52673/18570461.23.2-69.21.

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A notorious representative of the contemporary Bessarabian artistic diaspora, Teodor Buzu is a well-known name in the Romanian and Central European artistic scene. Having settled for over three decades in Tabor in the Czech Republic, the artist takes part with devotion in exhibitions in the Republic of Moldova and in European countries. He is a versatile artist, working in watercolour, easel painting, graphic design, ceramics, monumental painting, and book graphics. He is a member of the Volary Group, together with his friends, the Czech painters Pavel Klima and Vit Pavlik, sharing a passion for experimentation and a common vision of creation and its role in the modern world. In July 2023, the Volary Group was hosted by the National Art Museum of Moldova with the exhibition Ex tempore/ Improvizații.
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Books on the topic "Moldovan Painting"

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Brigalda-Barbas, Eleonora. Evoluția picturii de gen din Republica Moldova (1945-2000). Chișinău, Republica Moldova: Știința, 2002.

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Buzu, Teodor. Teodor Buzu. Edited by Kornatovský, Jiří, writer of the added text and Smrčka Jakub editor. Tabor: Husitské museum, 2020.

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Looking Eastward: Contemporary artists from Russia, Ukraine, Moldavia, Armenia, Uzbekistan. Milano: Skira, 2011.

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Un veac de pictură românească din Transilvania: Secolul XVIII. București: Editura Meridiane, 2003.

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Cullerne, Bown Matthew, and Museum of Modern Art (Oxford, England), eds. Soviet socialist realist painting 1930s-1960s: Paintings from Russia, the Ukraine, Belorussia, Uzbekistan, Kirgizia, Georgia, Armenia, Azerbaijan and Moldova. Oxford: Museum of Modern Art, 1992.

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Cimpoeșu, Corina. Ludovic Stawski: Un pictor în Moldova secolului al XIX-lea. Iași: Editura Palatul Culturii, 2014.

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Spânu, Constantin. Spațiu și timp în pictura din Republica Moldova: Anii 1940-1990. Chișinău: Știința, 1994.

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An anthology of Moldavian painting: O antologie a picturii moldoveneşti : 1939-2015. Chişinău: M, 2015.

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Conference papers on the topic "Moldovan Painting"

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Rocaciuc, Victoria. "Leonid Beleaev – 100 years since the artist's birth." In Simpozion Național de Studii Culturale, dedicat Zilelor Europene ale Patrimoniului. Ediția III. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/sc21.12.

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The work of the artist Leonid Beleaev (1921-1974) is a novel page in the history of fine arts in the Republic of Moldova. His merits in the field of monumental painting, easel and book graphics are indispensable. However, there are still some inaccuracies in various documentary sources about the artist’s work and biography. Thus, together with the analysis of the works created by the plastic artist Leonid Beleaev, a minor additional study was undertaken to clarify the data of his biography. In his best works, Leonid Beleaev, among the first in Moldovan book graphics, aimed to achieve the synthesis of literature with graphic art and complex structuring of the artistic presentation of the book, paving the way for fruitful and versatile searches in the field of polygraphic design. It is worth mentioning the artist's contribution in the field of wood engraving and other graphic techniques. Leonid Beleaev is the first graphic artist in Moldova to start working in fiber engraving. Leonid Beleaev was a true master of plastic expressiveness who strived for perfection in any technique approached.
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Madan, Elena. "Evolution and classification of dessert boxes of in the territory of the Republic of Moldova, emg of the XIX century – middle of the XX century." In Simpozionul Național de Studii Culturale, Ediția a 2-a. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/9789975352147.22.

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This article will follow the evolution of dowry boxes on the territory of the Republic of Moldova (late nineteenth century – mid-twentieth century), the role of external influence, the Romanian, Ukrainian and Russian, which left its mark on the type of decoration to these boxes. It will also be followed, the place and the way of their execution. The peasant’s economic factor and the social condition led to a different number and different quality of the dowry boxes, made by local craftsmen or purchased in fairs and cities. Models of dowry boxes made of joiners or carpentries, differed according to the way of joining and decoration techniques (notching, painting, carving, etc.), each in its own way presenting special artistry. The field research on the Republic of Moldova’s entire territory (2.3 localities from each district of the Republic), related to historical data and literature, has allowed classification of crates and their dating in its historical evolution. This classification allows us to capitalize on and promote our cultural heritage.
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Malcoci, Vitalie. "Scenographic art from Moldova - beginnings and evolutions." In Conferința științifică internațională Patrimoniul cultural: cercetare, valorificare, promovare. Ediția XIV. Institute of Cultural Heritage, Republic of Moldova, 2022. http://dx.doi.org/10.52603/pc22.03.

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Th e end of the XIX century intensifi es the theatrical life in Bessarabia, a fact that leads to the improvement of staging methods and plastic and decorative solutions of the stage space. Th is gains even greater revival towards the middle of the XX century, being oft en mentioned by critics in the press of the time, who describe the decorations and the costumes in the staged performances. A new phase in the decorative-theatrical art of Bessarabia begins with the appearance of the great personalities who contributed to the creation and development of the Bessarabian Romanian scenography. Th is phase coincides with the activity of some outstanding personalities of the scene-painting in Bessarabia from the beginning of the XX century, such as Auguste Baillayre, Th eodor Chiriakoff , George Löwendal, Boris Nesvedov, Natalia Bragalia, Elisabeth Ivanovsky, Maria Starcevschi, Natalia Danilcenco, Elena Barlo and others. Th e decorations made by these plastic artists starts to be known to the local public. Th is familiarization takes place mainly through the tours in Bessarabian cities and towns, as well as in cultural centers.
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Dragnev, Maria. "The typology of the votive paintings in 15th-16th century Moldova." In Latinitate, Romanitate, Românitate. Conferinţa ştiinţifică internaţională, Ediția a 7-a. Moldova State University, 2023. http://dx.doi.org/10.59295/lrr2023.11.

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Presented and researched along with the publication of the painted monuments, the votive paintings of the ecclesiastical foundations of the lords and nobles of the Romanian space, benefited a systematic analysis only around 1990, in the study signed by Matei Cazacu and Ana Dumitrescu. Although the votive images from Moldova of the 15th-16th centuries are studied here in particular, the broader context includes the whole Romanian area, with extension into the Balkan Slavic areas (especially Serbian). In the present research we will attempt to divide the painted churches and therefore the votive images within them according to their type of foundation. Despite the differences highlighted here to make this classification possible, it is important to point out that all these votive images have more in common and are marked by a unique style, specific only to Moldova.
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Madan, Elena. "The bed: element of peasant furniture on the territory of the Republic of Moldova, late XIX - middle of XX century." In Ethnology Symposium "Ethnic traditions and processes", Edition II. Institute of Cultural Heritage, Republic of Moldova, 2021. http://dx.doi.org/10.52603/9789975333788.24.

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In this article, our attention is focused on the BED as an element of peasant furniture, on the territory of the Republic of Moldova (late nineteenth century - mid-twentieth century). The bed derives in most cases from the bench. As furniture with a special shape, the bed appears in the rural house in the 19th century, first in wealthy families. It is more widespread in the interwar period and after the Second World War. According to the system of joining the parts, the classification of beds can be divided into two categories: beds joined in «feather and gutter»; beds joined with «plug and hollow». The tables present the largest decoration of the bed through various wavy profiles, through variations of planes, turned parts, in rare cases decorated with simple paintings or by imitation veneer. The detailed analysis of the peasant furniture, and of the beds, in particular, starting from the craftsman, who made this furniture, the execution and decoration technique used, tell us about the tendencies of a period, which is worth following closely to better understand the artistic peculiarities of the furniture and traditional art.
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