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Journal articles on the topic 'Moldovan Painting'
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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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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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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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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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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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Тома, Л. А. "Creative activity of Galina Kantor-Molotova in the puppet theatre and not only." Iskusstvo Evrazii [The Art of Eurasia], no. 3(22) (September 30, 2021): 44–59. http://dx.doi.org/10.46748/arteuras.2021.03.004.
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В статье раскрываются разнообразные задачи, решаемые Галиной Кантор-Молотовой в области театрального и декоративного искусства, станковой живописи и скульптуры. Достижения работающей в Кишиневе с 1972 года выпускницы Ленинградского института театра, музыки и кинематографии (1971, по специальности «театральная техника и оформление спектакля» со специализацией «художник-скульптор театра кукол») признаны в Молдавии и в других странах. Ее произведения находятся в Театральном музее имени А.А. Бахрушина и Музее Театра Образцова в Москве, в Ташкенте, в частных коллекциях России, Украины, Эстонии, Германии, Франции и других стран. Более 10 персональных выставок этого мастера было организовано в Кишиневе и Париже. Об отдельных гранях творчества художницы написано немало статей, но в целом ее путь не исследовался с достаточной полнотой. В некоторой мере этот пробел восполняет недавно изданный альбом «Galina Cantor-Molotova», презентация которого состоялась в Кишиневе в Национальном музее истории Молдовы на открытии выставки избранных произведений — кукол для детского театра, гобеленов и живописи. Однако местное издание небольшим тиражом увидят лишь немногие любители искусства. Творчество Г. Кантор-Молотовой достойно введения в широкий искусствоведческий оборот, включая не только кукол и эскизы декораций для спектаклей, но и гобелены, скульптуру, живопись. The article reveals the tasks solved by Galina Cantor-Molotova in the field of theatrical and decorative art, easel painting and sculpture. The achievements of this graduate of the Institute of Theatre, Music and Cinematography in Leningrad (1971), who has been working in Kishinev (Chisinau) since 1972, are recognized in Moldova and in other countries. There were organized more than ten personal exhibitions of this master in Kishinev and in other cities, among them being Paris. A lot of articles have been written about individual facets of the artist's work, but in general, her path in art hasn’t been studied with sufficient completeness. To some extent, this gap is filled by the recently published album “Galina Cantor-Molotova”, the presentation of which took place in Kishinev at the National Museum of History of Moldova, while opening the exhibition of her selected works — puppets for children's theatre, tapestries and paintings. However, only a few art lovers will see the local edition with a small circulation. A subtle lyricist in painting, a muralist in tapestry and sculpture, though we are talking about small forms, Galina Cantor-Molotova gives free rein to her imagination in theatrical works. Her puppets are marked by a special warmth of author's feeling, which is the result of her character, modest and benevolent, sincerely loving her main audience — children. The artist's works are worthy of introduction into a wide range of art criticism.
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Condraticova, Liliana. "Andrei Negura and transposition of emotions into color." Akademos, no. 3(62) (December 2022): 141–46. http://dx.doi.org/10.52673/18570461.22.3-66.17.
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The present approach represents the vision of a historian on the evolution and development of decorative art in Moldova through the lens of the creation of Andrei Negură, an artist who asserted himself equally in painting and tapestry. He made a sensation at the beginning of his activity in the 1980s with the tapestries he exhibited, shaping a new attitude of society, driving his interest in this genre of decorative arts. His creation, deeply rooted in the aesthetics of traditional weaving, offers outstanding samples of modern art, products of original plastic and technological experiments. Thanks to him, for the first time tapestry began to be studied at the level of a higher education institution, he founded the Department of Textile Arts at the Academy of Music, Theater and Fine Arts, the “Tapestry” specialty. His last personal exhibition, Revelations in Color, at the “Constantin Brâncusi” Exhibition Center in Chisinau, presents him in the fullness of his talent as an author of parietal tapestry, three-dimensional tapestry, easel and applicative graphics, oil painting and tempera painting. Through his complex creation, A. Negură made a significant contribution to the valorization of the national cultural heritage.
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Spinu, Constantin. "Identity convergence in the tapestry and painting of Ecaterina Ajder." Akademos, no. 2(61) (September 2021): 154–60. http://dx.doi.org/10.52673/18570461.21.2-61.16.
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Ecaterina Ajder, representative of the early `80s of plastic artists from the Republic of Moldova, constantly opts for endowing the work of art with innovative stylistic values. Plastic tradition and modernity originally connect in her creation, contributing to the generation of current messages through image. Preferring to materialize her thematic and plastic predilections in the genre of artistic tapestry and easel painting, Ecaterina Ajder has drawn and consolidated over the decades her unmistakable stylistic facet, in which the insurmountable landmarks of folk art have found a favorable artistic fulfillment and integration into relevant contemporary creative trends. In the artistic tapestry, the painter significantly capitalized both the aesthetic expressions obtained from the classic weaving, and from combining it with various techniques such as felt and embroidery. When referring to the easel painting she highlighted the traditional aspects of structural-constructive constitution of the image field and, at the same time, the impressive artistic expressions, obtained after practicing mixed techniques, giving priority to the collage methodology. In the artist’s creation, both the conceptualization and aesthetic interpretation of the theme, as well as the way of operating with plastic means imminently contribute to the demarcation and supplementing of the semantic area of the work with high value expressions.
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Shamardina, N. V. "GALICIAN-RUSSIAN PRAISE OF THE VIRGIN ICONS OF THE 15th – 16th CENTURIES: GENESIS AND METAMORPHOSIS." Rusin, no. 60 (2020): 22–38. http://dx.doi.org/10.17223/18572685/60/3.
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The Galician-Russian icons of Praise of the Virgin are interesting both due to their origin from the hymns of akathist worship, the circumstances of their appearance in the Galician-Russian lands (probably related to the Western Russian metropolitan Gregory Tsamblak), and their unprecedented abundance. This type includes the outstanding works of the 15th century belonging to the Przemysl School, the main icon-painting centre in Poland. In the 16th century small trading towns, primarily Sambir, housed icon-painters who created icons in the democratic version of the national icon-painting style, associated with the artistic achievements of the neighboring coreligious Moldova. The Lviv Renaissance affected all aspects of the spiritual life of Galician Rusins around 1600 during the events around the Brest Union (1596). A final episode of the twocentury history of Praise of the Virgin in its Galician version is presented in Fyodor Senkovich’s icon from the Ripnev village near Lviv, dated 1599. The Praise of the Virgin icons of the 15h – 16th centuries demonstrate the iconographic type transformation caused by the changes in the mentality of the Orthodox population in the east of the Polish Catholic state, indicating both involvement in the Balkan-Slavic church and cultural impulses, as well as general patterns of sacred art development.
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Тома, Л. А. "Less-known works by Yakov Averbukh." Iskusstvo Evrazii [The Art of Eurasia], no. 2(29) (June 30, 2023): 190–209. http://dx.doi.org/10.46748/arteuras.2023.02.005.
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В статье освещаются малоизвестные аспекты творчества Якова Авербуха (1922–1998), художника своеобразного дарования и пластической культуры, который обучался профессиональному искусству в королевской Румынии, совершенствовал свое мастерство в Советской Молдавии, а в последний период работал в Израиле, нередко используя театральный псевдоним отца — Аш. На республиканских и зарубежных выставках 1950–1970-х годов он получил признание как оформитель и иллюстратор книг, автор плакатов и линогравюр. Однако он не экспонировал и почти никому не показывал работы камерного звучания — этюды, выполненные маслом, акварели и пастели, отмеченные остротой взгляда и свежестью палитры, что было редким явлением в искусстве Молдавии в первые послевоенные десятилетия. Эти произведения с несложными мотивами — окраины Кишинёва, молдавские села, берега Днестра — воссоздают атмосферу будничной жизни минувших лет и передают непосредственность эмоций тонкого колориста. Долгие годы они не были известны в культурной среде. Многогранное творчество Якова Авербуха включает также медальерные работы и монументальные панно из керамики, оформление интерьеров стенной росписью и резьбой по дереву. Но его труд не освещен во всей полноте. Попыткой восполнить пробел в изучении станковых произведений художника является монографический альбом «Yakov Averbuch Ash = Яков Авербух Аш», изданный в Кишинёве в 2022 году, к столетию со дня рождения художника. Презентация книги, включающей значительный ряд репродукций эстетически ценных и ранее неизвестных работ, состоялась в Тель-Авиве (в Представительстве Республики Молдова в Израиле) и в Кишинёве (в Национальном художественном музее Молдовы). Однако небольшой тираж издания доступен немногим читателям. Автор надеется, что избранные произведения станковой графики и живописи Якова Авербуха, иллюстрирующие данную статью, привлекут внимание специалистов и оценки творческих достижений этого художника будут введены в широкий искусствоведческий оборот. The article reveals the less-known aspects of the creative activity of Yakov Averbukh (1922–1998). An artist of distinctive gift and plastic culture, he was trained as a professional artist in royal Romania, perfected his skills in Soviet Moldova and, during the latter period, worked in Israel, often using his father’s theatrical pseudonym — Ash. In the 1950s – 1970s he presented his works at national and foreign exhibitions, being recognized as a book designer, illustrator, and author of posters and linocuts. Nevertheless, he hadn’t exhibited and almost never displayed his chamber works — oil sketches, watercolours and pastels, marked by witticism and palette freshness, which was a rare phenomenon in the art of Moldavia in the first post-war decades. These works with simple motifs — the countryside of Chisinau, Moldovan villages, and the banks of the Nistru River ─ recreate the atmosphere of everyday life of bygone years and convey the unpretentiousness of emotions of a refined colourist. For many years, they were unknown in the cultural milieu. Yakov Averbukh's versatile artistic work includes medallic art, monumental ceramics panels and interior decorations with murals and wood carvings. Yet his creativity is not covered in its entirety. The monographic album “Yakov Averbukh Ash = Yakov Averbukh”, which was published in Chisinau in 2022 on the occasion of the centenary of the artist's birth, attempts to fill the gap in the study of the artist's easel works. The launch of the book, which includes a significant number of reproductions of aesthetically important and previously unknown works, took place in Tel Aviv (at the Mission of the Republic of Moldova in Israel) and in Chisinau (at the National Art Museum of Moldova). Nonetheless, the publication's limited print run is accessible to a small number of readers. The author hopes that the selected works of easel graphics and paintings by Yakov Averbukh illustrating this article will attract the attention of experts and the evaluation of the artist's creative achievements will be commissioned into wider art studies.
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Stăvilă, Tudor. "Mihail Statnii: through traditions towards the universal art." Akademos, no. 4(67) (March 2023): 157–61. http://dx.doi.org/10.52673/18570461.22.4-67.21.
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The native village in the north of Moldova where Mihail Statnîi was born – Beleavinț, Briceni, with a predominantly Ukrainian population, with spectacular traditions preserved from his ancestors, has profoundly marked his artistic destiny. Few of our artists have approached with such consistency and dedication the themes of rustic life, traditional winter celebrations, wedding customs, carpet weaving etc. The velvety coloring and the resonant decoration of his paintings express the charming Bucovina, but also the universe of the childhood, the native village, the myths and legends of these lands. It is significant that Mihail Statnîi named his jubilee exhibition, which was held on the occasion of his 80th birthday, after the unfailing source of his inspiration – Traditions.
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Procop, Natalia. "Plastic artist Gheorghe Șoitu, a true honorary citizen of the city of Cahul." Dialogica. Revistă de studii culturale și literatură, no. 1 (April 2024): 124–32. http://dx.doi.org/10.59295/dia.2024.1.15.
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Gheorghe Șoitu studied at the School of Arts in Cahul, in the class of Professor Gheorghe Huzun, who gave him the basis for drawing, painting and composition, and later at the Republican School of Fine Arts “Ilia Repin” in Chisinau. After finishing his studies, he worked as a teacher, training generations of young artists at the School of Painting for Children “A. Sciusev”. Returning to Cahul, he continued his work as a painter at the workshop of the city’s Culture Department. Being a nonconformist, Gheorghe Soitu fits perfectly into the evolution of the plastic arts in the second half of the 80s, which is characterized by the easy transition from ideological themes to subjects expressing the human essence, translated into symbols. During this period, Gheorghe Soitu’s creation is characterized by experimentalism. In the compositions of the genre, the invoice, the incision and the contrasting chromatic range dominate, with multiple nuances. Balanced, however, tonally, chromatically and compositionally, they exude perfection. In the 2000s the artist’s work is distinguished by neo-expressionist compositions in which the plastic form is managed by impulsive and spontaneous temperament. This stage is characterised by a particular expressive force, diverse colour range and energetic colour tones. For his entire creation, the Cahul City Hall made an inspired gesture in 2009 to grant him the title of honorary citizen of the city, Gheorghe Șoitu being, rightly, the representative artist of Cahul and the south of the Republic of Moldova.
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Boicu, Dragoş. "The Ethnic Pluralism of the Nineteenth Century in Transylvania according to the Ecclesiastical Painting of the Grecu Brothers." Review of Ecumenical Studies Sibiu 8, no. 1 (April 1, 2016): 56–75. http://dx.doi.org/10.1515/ress-2016-0004.
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Abstract Despite the development of the iconographic programs, the frescoes painted by the Grecu brothers remind us not only of the large ensembles beyond the Carpathians in Walachia and Moldova but also other Transylvanian decorations. These frescoes express not only the spirit of the time or the mentality of the community to which they belonged, but they also represented an opportunity to show the painters’ originality and personality, their need for personal affirmation and artistic individuality, connected to a new sensitivity of a given historical context. The representation of the inhabiting nations in Transylvania in the Passion’s Cycle highlights the disadvantaged status of the Romanian people who were oppressed by the privileged nations: by the Habsburg military force, the inequitable judgement of Saxons and the torments inflicted by Hungarians through their policies. All of these recreate mutatis mutandis the dramatic setting in which Christ was crucified.
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Ursachi, Rodica. "Three pillars of national art – Igor Vieru, Ilia Bogdesco, Mihail Petric – 100 years since their birth." Dialogica. Revistă de studii culturale și literatură, no. 1 (April 2024): 68–78. http://dx.doi.org/10.59295/dia.2024.1.09.
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The article is focused on the creation of three plastic artists from the Republic of Moldova, who would have celebrated their centenary this year – Igor Vieru (1923-1988), Ilia Bogdesco (1923-2010), Mihail Petric (1923-2005). Their contribution is a significant one for national art, each one leaving a considerable mark in the field and genre they work. Several aspects and factors of the creative process of each individual artist are mentioned in the article. The thematic topics addressed are described, the components of the plastic language used in the process of creating a work of art, and the types of plastic and technical realization of the works are revealed. In their creation there is a coexistence of traditional and innovative elements in the plastic treatment of works of art. Depending on the historical period, the illustrative-realistic vision in painting (I. Vieru, M. Petric) is replaced by a decorative one, inspired by Romanian plastic folklore and the aesthetic concepts of modern European art (post-impressionism, Fauvism, etc.). In the creation of the graphic artist Ilie Bogdesco, who prefers a „classic” work technique, technical procedures and stylistic features not specific to contemporary national graphics are encountered. He practices calligraphy in book illustration and develops a new author’s technique, based on the text from the national medieval miniatures. Poets in soul and philosophers in thought, the celebrated artists remain trailblazers for the plastic arts in the Republic of Moldova, who have le¡ a unique spiritual trail in their track record.
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Adascalita, Lucia. "The plastic expression of everyday life in the satirical graphics of the artist Glebus Sainciuc." Arta 32, no. 1 (September 2023): 93–99. http://dx.doi.org/10.52603/arta.2023.32-1.13.
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Glebus Sainciuc is known in the artistic and cultural space of the Republic of Moldova, thanks to his pictorial works, papier-mâché masks and remarkable drawing sheets. Initially, the protagonist debuts in the art of easel painting, so as over decades to also enrich his area of interest through a vast activity in the art of masks, the art of social caricature and friendly cartoons. Caricature, as a genre of plastic creation, was practiced by artist Glebus Sainciuc mainly in the late 50s - early 60s of the 20th century. His debut in satirical graphics coincides with the period of time in which he becomes a member of the editorial board of the satire and humor magazine “Chiparus” in 1958. The artist’s activity involves social caricatures that were part of various thematic branches such as culture, social life, national economy, etc. The creator’s efforts were directed towards the elaboration of expressive images with an accentuated metaphorical substrate that originally reflects everyday life. Made in watercolor and ink, the caricatures developed by Glebus Sainciuc highlight the plastic expressions of color and line, while the subject of the image favors the satirical elucidation of some social and cultural realities.
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Stavilă, Tudor. "The creation of Lică Sainciuc, an ongoing experiment." Akademos, no. 2(56) (September 2022): 151–55. http://dx.doi.org/10.52673/18570461.22.2-65.16.
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Lica Sainciuc is part of the generation of the 1970s, a period when Mihail Grecu and Valentina Rusu-Ciobanu loosened the shackles of socialist realism and launched their pictorial experiments, which had a huge impact on local mentalities and the artistic environment. Formed in an entourage of nonconformist creators, after graduating from the Faculty of Architecture he started his own experiments. His paintings made in the years 1970–1979 denote an “architectural” accuracy in the conjugation of colors, the approach of forms and the subject as a whole. In the same years he practiced scenography in the puppet theater and in the dramatic theaters. The given period was an essential one for his further creation marked by continuous experiments, in which book graphics became a priority. He illustrated about 100 books, including the famous Albinuța and the Codobelc series, he is a lover of old Chisinau, about which he wrote and illustrated the books Colina antenelor de bruiaj (2000), 333 intersections, based on the text of Ioan Halippa (2011), Hidden Chisinau (2018) and The Little Story from the Family Album (2018). He is a trailblazer in combining computer techniques with the traditional means of fine arts in the Republic of Moldova, offering outstanding samples in the genre of digital art.
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SOLCANU, Ion I. "THREE INITIATIVES TO RECOVER THE NATIONAL CULTURAL HERITAGE AND HISTORY DURING THE REIGN OF ALECSANDRU IOAN CUZA." Annals of the Academy of Romanian Scientists Series on History and Archaeology 12, no. 1 (2020): 5–29. http://dx.doi.org/10.56082/annalsarscihist.2020.1.5.
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The new social context after the 1859 Union of the Principalities saw an increase in the interest to recover the national history and the Romanian cultural heritage. Alongside the private attempts made by some passionate collectors (General Nicolae Mavros, Ban Mihalache Ghica, Major D. Papazoglu, etc.) the Wallachian and Moldavian Governments initiated several actions in an attempt to recover the national patrimony. The movement was all the more legitimate due to the criminal carelessness of the Greek hegumens in the dedicated monasteries in obedience to the Greek Church whose main preoccupation was to acquire huge incomes from renting the estates while letting the monuments and the national cultural values fall into decay. This study, which relies on historical archives, presents three such unknown initiatives: one of the Moldavian governments and two others carried out by the Wallachian governments. 1. In 1860, in Moldova, Vasile Alexandrescu-Urechia, director of the Ministry of Cults and Public Instruction urged the protopopes and the school teachers in the county seats to identify in churches and monasteries the old religious books that were valuable for the history of Romanian literature so that the state could purchase them and store them safely in the Public Library. 2. In Wallachia, we can see a similar concern for the salvation of the Romanian cultural heritage. Here, in may 1863, Christian Tell, the Minister of Cults, granted 2880 lei to Cezar Boliac, to embark on an “archeological journey” that was to last two months, starting from “Zimnicea downwards and to the Bessarabian region that had been returned to Moldavia.” In the same year in September, Christian Tell’s successor, Al. Odobescu, delegated Grigore Bengescu to make a similar journey to the monasteries in the counties of Dolj, Romanați, Gorj and Mehedinți which had not been visited in the summer of 1860 when a similar research had taken place. 3. In order to recover the heroic moments in the national history, minister Barbu Vlădoianu organised a painting contest with a prize of 300 golden coins to evoke the battle of Teișani, from September 1602, between the boyar Stroe Buzescu and the Tatar Khan’s nephew. Since no participants entered the first stage of the contest on 12th February 1860, the Ministry organised another contest on 2nd May 1860, where they also invited painters from Moldavia to take part.
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Chicu, Dorina. "Dumitru Peicev. The tribute to art." Akademos, no. 1(72) (June 2024). http://dx.doi.org/10.52673/18570461.24.1-72.19.
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Dumitru Peicev (19.05.1943–18.12.2023), a renowned figure in the field of fine art in the Republic of Moldova, professionally evolved during the 1960s, inspired by the traditions of the French and Romanian schools of painting from the late 19th to early 20th centuries. A significant influence on his artistic conceptions and aesthetic visions was played by master Mihail Grecu, one of the founders of the national school of painting, with whom Dumitru Peicev had a warm and fruitful collaboration. Throughout his artistic career, he manifested himself as a talented painter of thematic compositions, genre scenes, landscapes, still life, and portraits. Dumitru Peicev’s paintings are housed in the collections of the National Art Museum of Moldova, the Museum of Fine Arts in Razgrad, Bulgaria, the Art Museum in Ţelingrad, Kazakhstan, and in numerous private collections. A significant number of his works have been donated to the „Dumitru Peicev” Art Gallery in the city of Taraclia. Through his original creations, Dumitru Peicev contributed to the enrichment of the national cultural heritage, shaping a new chapter in the history of contemporary fine arts.
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Riis, Carsten. "Religiøs ikonografi og politisk agitation." Religionsvidenskabeligt Tidsskrift, no. 9 (July 22, 1986). http://dx.doi.org/10.7146/rt.v0i9.5405.
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About the painting “The Siege of Constantinople” as found on six churches from the 16th century in Moldavia. In the first decades of the 16th century the late Byzantine iconography flourished in Moldavia on church exteriors. On six churches within a radius of 30 kilometres are found a siege scene, “The Siege of Constantinople”, in connection with a painting of the Akathist Hymn. The article seeks the historical background of the painting in the siege of Constantinople by the Turkish army in 1453. In uncovers, through an interpretation of the painting from the Moldovita Monastery, the Moldavian painters’ knowledge of the fall of Constantinople. At the same time, this was the defeat of the centre of the Orthodox Church to which Moldavia belonged. From the connection with the Akathist Hymn and the explanatory text which follows the painting on the church in Arbore, the religious aspect of the paintings is connected to the Persian siege of Constantinople in 626, where an intervention by Virgin Mary was believed to have saved the city. During the Turkish pressure in the 1530’s, this tradition is moulded into an anti-Turkish ideological manifest in Moldavia. This takes place by altering the historical scene for the events in 626, and in this manner the situation of Moldovia is incorporated into the paintings. The church of Arbore has been painted as the last one and has an account which varies in considerable degree from the five others regarding the historical aspect, because at that time Turkish control of the area increased. However, its religious aspect is still Christian and anti-Turkish. After 1541 the picture is no longer painted, probably because of even stronger Turkish control.
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"Ioan Opriș, Înscrierea siturilor românești în Lista patrimoniului mondial / Inscription of the Romanian sites in the World Heritage List." PLURAL. History, Culture, Society 6, no. 2 (December 30, 2018): 32–40. http://dx.doi.org/10.37710/plural.v6i2_3.
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Romania has recorded 8 wooden churches, 7 fortified churches, 6 Dacian fortresses, 8 churches with exterior mural painting from Moldova, a medieval city of Sighișoara, an orthodox monastery of Horezu from Oltenia and the Danube Delta Biosphere Reserve into the World Heritage List. By their number, value, and expressiveness Romania has been rightly placed amongst the regional powers. The monumentality, the spectacularity and the splendor are found in each item recorded in the list on equal terms with quality, maintenance, community servitudes, active conservation and, respectively, with the subject of protection and prevention of major risk factors.
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"Japanese engraving from the 18th-19th centuries in the collection of the National Art Museum of Moldova." Arta 32, no. 1 (September 2023): 13–19. http://dx.doi.org/10.52603/arta.2023.32-1.02.
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The National Art Museum of Moldova keeps in its funds a collection of about 400 Japanese stamps, made in the 18th-19th centuries, this being one of the most numerous collections in the neighboring regions. These prints were acquired by the museum in the years 1973-1987 from private collectors and from some antique shops and private owners in Moscow. Two periods marked the evolution of Japanese engraving - the Ukiyo-e and Meiji eras, which identified the difference between medieval and modern Japan. Made in the color woodcut technique of the ukiyo-e (World in Motion) era, this technique saw its peak development in the Edo period (1614-1868), decisively influencing the development of painting and graphics. Famous representatives of this era were Kitagawa Utamaro, Utagawa Hiroshige, Katsushika Hokusai and Utagawa Kunisada. During the Meiji period or the Period of the Enlightened Kingdom (1868-1912), Japanese woodcuts reflect the social and historical modifications that took place in Japan, by changing the subjects and the motifs of the prints with scenes of gatherings, battles or processions, making the appearance of diptychs, triptychs and even polyptychs , which are dispersed in the museum collection, The most illustrious artist was Toyohara Chikanobu (1838-1912). In the West, Japanese engravings had a major influence on the subsequent developmental trend of European painting, being found in the works of Claude Monet or Vincent van Gogh, who were conquered by the fineness of shadow-light gradation. The art of the impressionists and post-impressionists had been transformed and it proved that simple themes from the daily life of the changing world could be presented in an attractive way.
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"Similarities in iconographic art between rural churches from Transylvania in the 17th century and Caesarea of Cappadocia." European Scientific e-Journal, 2017. http://dx.doi.org/10.47451/art2020-11-005.
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The idea of the speech, goes round the importance of byzantine art inside Transylvanian orthodox culture, in the 17th century. The Göreme monastic Complex of Caesarea of Cappadocia has a considerable list of churches with relevant importance in Byzantine iconography. The popular character of this type of art developed on the walls of these architectural jewels manifests itself in the left-handed, but expressive and with such great spontaneity drawing: also with predilection for narration that lends many elements from the illustration of the Apocryphes, which were born from people’s inclination to very detailed stories. This byzantine style we have had for centuries and which is tight to our Christian roots, was cultivated in Wallachia and Moldova and Transylvania in the 14th and 15th centuries and the post-byzantine style in Wallachia in the 15th and 16th centuries. There are similarities between churches raised in the 17th century in Transylvania and the ones from Caesarea of Cappadocia. We refer mainly to the iconographic painting of the hunedorian churches