User:Renata1909/Romanian art in the 19th and 20th centuries

Romanian art in the 19th and 20th centuries reveals the transformations that took place in architecture, painting, and sculpture, due to the influence of various Western currents that introduced modernist elements into Romania.

In architecture, neoclassicism, classicism, eclecticism, and the national style were movements that brought new elements into the construction of buildings, aiming to create a more pleasing aesthetic. Notable architects from this period include Ion Mincu, Petre Antonescu, Alexandru Orăscu, and others.

Sculpture brought modernist elements through a change in working style and artistic vision, resulting in numerous artistic masterpieces. Various sculptors created sculptures in stone, wood, or modeling, including Karl Storck, Carol Storck, Ion Georgescu, Wladimir Hegel, Dimitrie Paciurea, Constantin Brâncuși, Ion Vlasiu, Pavel Bucur, Ion Jalea, Ovidiu Maitec, Constantin Popovici, and Ion Irimescu.

Painting introduced a wide range of changes, with most Romanian painters studying in Paris, Munich, or Bucharest, seeking to define their own style by blending modernism with traditionalism. Many Romanian artists stood out in the field of painting, including Nicolae Grigorescu, Ștefan Luchian, Gheorghe Tattarescu, Theodor Aman, Ion Andreescu, Nicolae Tonitza, Gheorghe Petrașcu, Theodor Pallady, Max H. Maxy, Camil Ressu, Iosif Iser, Victor Brauner, Ion Țuculescu, Aurel Ciupe, Corneliu Baba, and others.

Art in the 19th century

As in the countries of Southeastern Europe, in Romania, at the end of the 18th century, the influence of Byzantine culture was strongly felt. Especially in Moldova and Wallachia, this culture developed more rapidly. In contrast to these two Romanian countries, in Transylvania, influences from the artistic currents of Central Europe were present. Thus, we find influences of Romanesque, Gothic, Renaissance, and Baroque art.

In the 19th century, also known as the "century of nations," due to new political conditions, emphasis was placed on connections with the West, marking the transition from the medieval era to the modern era. In Romania, elements of both Eastern and Western cultures coexisted for a long time, giving Romanian art a picturesque image. Romania established direct ties with countries such as France and Italy, where young people who went to study brought new ideas that would be put into practice during the 1848 revolution.

Both the West and the East brought about rapid changes, prompting an effort to synchronize Romanian culture and art with those of these regions. The accelerated assimilation of changes in Romanian art and culture gave rise to specific phenomena, such as the so-called "burning of stages," in which certain artistic movements succeeded one another rapidly, without following the normal evolutionary course.

V. Florea, in his work "Modern Romanian Art," makes a statement regarding this phenomenon:

Among the artistic movements originating from the West, the first to make its presence felt will be neoclassicism, even though it will sometimes have influences from academicism. After the emergence of neoclassicism, other Western currents will also make their presence known, significantly reducing the time gap compared to Western art.

Arhitecture

Neoclassicism

Chiar de la sfârșitul secolului al XVIII-lea neoclasicismul, este prezent punându-și amprenta în edificii religioase, care adaptează elemente decorative specifice clasicismului pe structuri de tip bizantin. Aceste influențe se observă și în cadrul arhitecturii caselor boierești. După anul 1830, construcția de edificii mari se accentuează, dar din lipsă de specialiști se apelează la arhitecți străini. Clădirea Universității București, a fost construită în stil neoclasic la fel ca Grand Hôtel du Boulevard de primul arhitect român important, Alexandru Orăscu, acesta terminându-și studiile în Germania. Primele cursuri de arhitectură, vor fi predate la Iași și la București.

Eclecticism

Numerous French architects, trained in the spirit of eclecticism, designed a large number of buildings in Bucharest, giving the city a Parisian atmosphere, which led to its nickname "Little Paris." Examples of eclectic architecture include the National Bank Palace, 1885 (architects C. Bernard and A. Galleron), the CEC Palace, 1900 (architect Paul Gottereau), all located in Bucharest. The characteristic style of the late 19th century and early 20th century is eclecticism (which combines elements from Renaissance, Baroque, Rococo, and Neoclassical styles).

Neo-Romanian style

At the end of the 19th century, alongside neoclassical and eclectic architecture, traditional Romanian architecture also asserted itself, valuing Romanian architectural traditions. The national line was initiated by Ion Mincu. This is also called the Neo-Romanian style. Ion Mincu harmoniously blends elements from our medieval architecture, emphasizing the porch with arches or the ogee arches, elements that can be observed in Lahovari House (1884-1886), The Bufetul de la Șosea (1892) or the Central Girls' School (1890), all built in Bucharest. Another Romanian architect, Petre Antonescu will continue the style of Ion Mincu. He designed the City Hall of Bucharest and the Administrative Palace in Craiova. The style of I. Mincu is adopted by a series of architects who highlight the ornamental elements of the Brâncovenesc style, these being : Grigore and Cristofi Cerchez, Nicolae Ghica–Budești or I. Socolescu.

Art Nouveau

Dianu House (Craiova), built in 1900-1905, unknown arhitect
Dinu Lipatti House (Bucharest), built in 1902, by Petre Antonescu,[1] A combination of Neo-Baroque with Art Nouveau.

Dinu Lipatti House (Bucharest), built in 1902, by Petre Antonescu,^[1] A combination of Neo-Baroque with Art Nouveau.
The Casino inj Constanta, built in 1905-1910, by Daniel Renard and Petre Antonescu
Mița Biciclista House (Bucharest). A combination of Neo-Baroque with Art Nouveau.Built in 1908, byNicolae C. Mihăescu^[2]

Art Nouveau buildings, a style characteristic of the early 1900s, can be found in Transylvania, influenced by Viennese Secessionism. Examples include the Palace of Culture in Târgu Mureș, completed in 1913, designed by architects Jacab Dezso and Marcel Komor. The French Art Nouveau movement was more prominent in the former kingdom, where examples such as the Athenée Palace Hotel and the Casino in Constanța can be found.

Theodor Aman (Self-portrait)
„Vlad Țepeș” and the Turkish envoys
Hora Unirii in Craiova
Masked Ball in the Studio
Hora from Aninoasa
A basket with fruit
The Expulsion of the Turks at Călugăreni
The Boyars Surprised at the Feast by Vlad Țepeș's Envoys (unfinished work)

Sculpture

Sculpture in Romanian medieval art emphasizes decorations. After the mid-19th century, round-boss sculpture (ronde-bosse) develops in Romania. Karl Storck, of German origin, he settles in Bucharest and, with a neoclassical style, creates a varied body of work, standing out in portraiture (portrait of Theodor Aman”) but also creating numerous monuments, such as: „Domnița Bălașa”, „Spătarul Mihail Cantacuzino” (Bucharest). This sculptor made a remarkable contribution to the beginnings of academic education, teaching at the sculpture department in Bucharest. His son,Carol Storck being his student, would continue his studies in Italy and the United States, thus reaching an enviable professional level. Carol Storck creates portraits ("B. P. Hasdeu"), allegories ("Progress," "Electricity"), and monumental sculpture ("Carol Davilla").

Ion Georgescu, being also a student of the School of Fine Arts in Bucharest, he creates portraits in a realistic manner due to his extensive anatomical knowledge ("Actor Mihail Pascaly"), but he also has inclinations toward romanticism ("Little Girl Praying"). He also achieved notable works in the field of monumental sculpture, creating the statue of „Gheorghe Lazăr” from Piața Universității from Bucharest and the statue of „Gheorghe Asachi” from Iași, but also allegorical figures such as "Justice" and "Agriculture" at the National Bank of Bucharest. An opponent of Georgescu's neoclassicism is Ștefan Ionescu-Valbudea, who emphasizes the human anatomy, characterized by strength and drama. Among his works, "Mihai Nebunul" and "Speriatul" stand out, treated with a nervous modeling style, anticipating the bold work of Paciurea.

Another sculptor, Wladimir Hegel of Polish origin, settled in Bucharest, he created several important works, including the "Monument to the Firefighters of Dealul Spirii" in Bucharest. As a professor, he had as his students Dimitrie Paciurea and Constantin Brâncuși.

Painting

At the beginning of the 19th century, the Western tradition made its presence felt in the Romanian lands as well. In painting, this tradition is confirmed by the large number of portraits. At the end of the 18th century, painters began to differentiate themselves from various kinds of painters, being called "fine painters" and the others "coarse painters." The painters from Romania came from among the iconographers, former church painters, or foreign painters experienced in the countries from which they originated. The portraits created by the "fine painters" were hieratic, showing naiveté in drawing and, in general, conventionalism.

In contrast to painting, graphic art was more detailed, focusing on clothing details, whether oriental or western. Most works created during this period were anonymous because the authors did not sign their work, lacking the awareness of artistic paternity. At the beginning of the 19th century, painters such as Nicolae Polcovnicul (with works like "Self-Portrait"), Ion Baromir, and Eustatie Altini, who embraced Viennese neoclassicism and were skilled colorists, became notable. Giovanni Schiavoni, who settled for a period in Iași, created portraits like "Vornicul Burada", mastering the art of chiaroscuro. A special merit goes to another representative of the Italian school, Niccolò Livaditti, who introduced group portraits in Romania ("The Family of Boyar Alecsandri"). The Czech Anton Chladek worked with miniaturist techniques for his portraits and is also known for having Nicolae Grigorescu among his apprentices.

In the first half of the 19th century, the first initiatives in the field of artistic education appeared in Romania. Thus, Gheorghe Asachi inaugurated the "painting class" at the Mihăileană Academy in Iași, recommending to painters the creation of "historical tableaux." At the "Saint Sava" College in Bucharest, the drawing chair was held by Carol Valstain, who created the "Portrait in Blue," establishing a harmony of cool tones. In 1848, during the moments of enthusiasm of the revolution, Romanian painting, influenced by Romanticism, underwent a shift in the transmission of its artistic message. Another painter, Constantin Daniel Rosenthal, became known for creating the allegorical painting "Revolutionary Romania," depicting "a heroic, noble, and gentle figure." Ion Negulici, renowned for portraiture (such as his works "N. Bălcescu" and "C. A. Rossetti"), created an exceptional piece with the freshness of its colors, called "Bărăția din Câmpulung." Barbu Iscovescu, among his most well-known works, also painted portraits of some of the leaders of the revolution, such as "Avram Iancu."

Academism

The academic style gradually made its way into Romania around the mid-19th century, although elements from Romanticism and Realism can also be found in painting during this period. Despite a wide range of genres, portraiture remained relevant. An important Romanian academic painter was Gheorghe Tattarescu, who, first as a "fine painter," showed his interest in portraiture. Drawn to classical academic art, he was trained in the spirit of ideal beauty after graduating from the Academia di San Luca in Rome. Upon returning to his homeland, he created numerous mythological and religious compositions ("Agar in the Desert"), as well as numerous church mural paintings. One of his notable compositions is "The Awakening of Romania", which, while conveying national ideals, is treated with less attention. Tattarescu is capable of expressing deep emotions through his works, which are full of freshness, such as "Portrait of Bălcescu" and "The Cave of Dâmbovicioara."

In the second half of the 19th century, Romanian artists paid particular attention to the moment of the Union of the Principalities. An example is the historical composition by Constantin Lecca titled "The Killing of Mihai Viteazul". Both Constantin Lecca and the painter Mișu Popp painted female portraits, highlighting the feminine soul. Gh. Panaiteanu-Bardasare, another important painter educated at the Academy in Munich, developed a painting style that was characterized as "pedantic and cold" (source needed). He also founded the School of Fine Arts in Iași.

Within the academic sphere, we also find Carol Popp de Szathmary, a painter and graphic artist with Romantic inclinations. Compared to Tattarescu, Szathmary placed more emphasis on direct observation of reality, capturing picturesque aspects in his paintings, such as scenes from fairs or markets, people, and monuments he encountered in his travels through the country or the East, using pencil or a photographic camera.

Theodor Aman (1831-1891)

A major figure in Romanian painting is Theodor Aman (1831-1891), a highly accomplished artist who studied at the Paris Academy and achieved notable success with works such as the "Self-Portrait" in 1853 and the composition "The Battle of Oltenița" in 1854. Aman was interested in various artistic techniques, including painting, engraving, and sculpture, and he worked in all the genres of 19th-century painting. He adhered to the principles of academic composition and painted historical events, such as "The Expulsion of the Turks at Călugăreni" and "Vlad Țepeș and the Turkish Envoys", as well as works inspired by contemporary events, such as "The Union Dance at Craiova".

Due to his immense talent, Aman was able to approach modern, realistic, romantic, and even pre-impressionist treatments. As a draftsman, he is highly appreciated for his neoclassical style of finishing each form and subordinating color to the drawing, as exemplified in his unfinished composition "Boyars Surprised at a Feast by Vlad Țepeș' Envoys". The artist, fascinated by the lifestyle of Bucharest residents, painted parties held in his studio, creating a painted high-society chronicle. Examples of such works include: "Party with Fiddlers", "Masked Ball in the Studio", "Evening Soiree", "Lady with a Dog", and "At the Window of the Small Studio".

Life in the countryside is another theme explored by Aman, who created small-scale works where characters are placed amidst landscapes, gaining freshness due to the freedom of brushwork and luminosity of colors. Examples include: "Hora at Aninoasa", "Jokes from Across the Olt", "In the Painter's Garden", and "Siesta in the Garden". Since native engraving was still in its early stages, Aman also delved into this art form and mastered techniques, producing remarkable aquaforte works, such as "Self-Portrait" and "Peasant with a Hat in Hand".

Aman also made a significant contribution to education. In 1865, he founded the "Academy of Fine Arts" in Bucharest, which he would lead for over 25 years. He also organized the "State Pinacotheca" and initiated collective exhibitions similar to those in Paris, the first being the "Exhibition of Living Artists" in 1865.

Ox cart
Self-portrait
The attack from Smârdan
The Cheerful Peasant Woman
Andreescu at Barbizon
Autumn at Fontainebleau
Head of a Peasant Woman
Ox cart

Nicolae Grigorescu (1838-1907)

Another great Romanian painter, Nicolae Grigorescu (1838-1907), brought a fresh breath into Romanian painting. Until the age of 23, Grigorescu painted icons (at Căldărușani) and churches (at Agapia). In 1861, he went to Paris on a scholarship and became a student at the School of Fine Arts, studying diligently under great masters such as Rembrandt, Rubens, and Géricault. The painter initiated a new way of thinking about art, becoming closer to the plein air landscape style of the Barbizon school. At the same time, he was influenced by the works of Millet, Corot, and Courbet, creating a personal style by blending the styles of these three artists.The experience he gained made Grigorescu a trailblazer in terms of vision, with an example being his work "The Keeper of Chailly" (1867), where he focused primarily on the emotional experiences of the characters. The most important change is seen in the landscape, a genre that had not been practiced before his departure to France and was rarely tackled by his predecessors but would become central to his entire body of work. Grigorescu's new style consists of defining plastic forms through patches of color rather than lines, using rapid and energetic brushwork. Over time, his style became more refined, developing into a distinctive version of plein-airism, setting it apart from both the Barbizon style and the Impressionist movement.In 1877, Grigorescu was present at the front as a reporter, where he created a historical composition, "The Attack at Smârdan", highlighting the movement of a character through just a few lines. As a landscapist, Grigorescu did not focus on ethnographic specifics but rather on plastic suggestions. His landscapes have a lyrical quality, depicting the serenity of the hot summer days in Romania, brightly lit, creating an almost unreal atmosphere. The importance of light in Grigorescu's landscapes is remarkable, as it subordinates the composition of plastic language elements such as form, color, and space.Compared to the motifs of northern France, which were painted in intense tones using energetic brushwork, Grigorescu’s landscapes from Romania feature a tendency to apply a "muted" tone that gradually intensifies over time. In his old age, Grigorescu painted ox-drawn carts and shepherds, revisiting his successful subjects. The technique he employed allowed the artist to highlight the vibrations of emotion on the canvas. Some of Grigorescu's most well-known works include: "Mocan", "Vatra at Rucăr", "The Jew with the Goose", "Houses at Vitré", "Andreescu at Barbizon", "Peasant Spinning", "Return from the Fair", and his series of self-portraits.

Snowdrops
Flowering field
Summer beech forest
Self-portrait
Chrysanthemums
Oak tree
Leafless forest
Winter in Barbizon

Ion Andreescu (1850-1882)

An alumnus of the Bucharest School of Fine Arts, he taught for seven years in Buzău without foreseeing his future as a painter. He initially debuted in painting with modest subjects, still lifes or portraits, but his true vocation was that of a landscape painter, being discovered by Grigorescu during a large exhibition of his in Bucharest in 1873. As a landscape artist, he first painted insignificant images of the outskirts of Buzău. He arrived in Paris in the last three years of his life to assimilate the innovations of contemporary painting, studying at the Julian Academy. At Grigorescu's suggestion, he worked more at Barbizon than in the Academy's studios. Due to his contact with Parisian style, his art became brighter and gained an emotional imbalance. Unlike Grigorescu's landscapes, which are filled with light and depict various aspects of summer, Andreescu painted landscapes from all seasons. He approached a serious and concentrated tone with a cool dominant. Noteworthy is the clarity of form, which does not dissolve under the influence of light. Works such as "The Bare Forest," "Winter in the Forest," "The Oak Tree," and "Winter at Barbizon" express his contemplative personality, impressing with the sensation that our gaze introduces us into a vast but highly tense space. Due to his ability to penetrate the depths of things and his lack of sentimentality, Andreescu stands apart not only from ordinary artists but also from other great painters.

Romanian Art in the First Half of the 20th Century

La Belle époque

From the end of the 19th century until Romania's entry into World War I, there was a period in Europe known as La Belle Époque. During this time, traditionalism and modernism were in fierce confrontation. The art of the 1900s was created by artists who returned to Romania after studying in Germany and France. We can mention painters such as Ștefan Luchian, Abgar Baltazar, Nicolae Vermont, Ipolit Strâmbu, Ștefan Popescu, Kimon Loghi, and Cecilia Cuțescu-Storck. Before World War I, Romanian art displayed primitivist, fauvist, and expressionist tendencies, with fewer cubist influences. One of the theoretical issues of the time was related to the "national specificity."

Ștefan Luchian (1868-1916)

An exceptional painter who would become a trailblazer in the school of painting, Ștefan Luchian (1868-1916) brings a touch of modernism from Munich and Paris. He feels closer to Grigorescu’s painting than to the academic style. Due to his contact with trends from abroad and having seen numerous exhibitions of prominent painters, he returns to Romania, fighting against academism and official art. He plays an important role in organizing the "Exhibition of Independent Artists" in 1896, as well as in the founding of the "Ileana" society, which aimed to spread artistic sensibility in Romania. In 1899, the society closed its activity, but its name was adopted by an art magazine, where Luchian was an active contributor. Thanks to Luchian, Romanian painting transitioned from impressionism, moving closer and closer to post-impressionism. In 1901, the painter created a remarkable work called "Safta the Florist", which has a melancholic tone, made with linear contours that firmly enclose the color surfaces. Luchian painted landscapes, portraits, still lifes, compositions with characters, and also a significant number of pastels of exceptional artistic quality, remaining the most important Romanian artist to have used this technique. The artist did not entirely abandon traditionalism but preserved elements of it, combining them with modernist aspects. Luchian was a lover of the urban universe, knowing the world of the Bucharest bohemian society ("Alecu literatu", "Birt fără mușterii"), as well as that of the slums ("Safta florăreasa", "The Washerwoman", "The Kiosk in Filantropia", "A Corner of Povernei Street").

A painting like "Lăutul", which through its decorative values can be considered a true plastic testament, actually heralds the works of Pallady and Tonitza. The latter, along with many others, adopted the type of plastic expression used by Luchian...
— V. Florea

He also painted self-portraits, but the most famous is the one entitled "A Painter," which impresses with its pathos.

Anemone
The lute
Landscape
Safta the florist
Alecu the literate
Corner of Povernei Street
The Staircase with Flowers
The painter

During the interwar period, Romanian art undergoes major changes. Even though the echoes of Cubism and modern Classicism spark controversies, these are beneficial.

Painting

Interwar Romanian painting has three main sources of inspiration: Grigorescu's lyricism, the echoes of new currents in European art, and the modern interpretation of popular and cultured traditions. These influences intertwine, often giving rise to modern artistic elements.

...It can be observed that each of the prominent artists, already established between 1900-1916 with innovative visions—Ressu, Iser, Șirato, Tonitza, Pallady, Pătrașcu—will change their painting style and vision after 1918, and often in a sudden manner.
— Amelia Pavel

In contrast to Western art, in Romania, neither the avant-garde nor the modernity of our artists completely rejected tradition, which maintained continuity from Theodor Aman until the end of the interwar period.

Gheorghe Petrașcu (1872-1949)

Petrașcu has the subtle and powerful homogeneity of the material, the succulence of the brushstroke with which he captures at once the tone, form, and envelope.
— Henri Focillon, critic francez

Petrașcu also paints still lifes, but these are composed of old objects that have been marked by time. The interiors he paints are similarly forgotten by time, like oversized still lifes, and the flowers he depicts have a quality that can also be found in the works of Ștefan Luchian.

Theodor Pallady (1871-1956)

Like Petrașcu, Theodor Pallady trained at schools in Paris, studying in the ateliers of great painters, alongside colleagues such as Matisse, Marquet, and Rouault. He drew inspiration from Art Nouveau elements as well as decorative trends from the Nabis and Fauves. Pallady harmonized all of these influences, creating the most original synthesis in Romanian painting. In 1942, he painted the work "Self-Portrait," which presents the painter's hieratic face, resembling an icon. With a classical personality, Pallady was drawn to the painting style of Ingres and admired the work of Leonardo. As his artistic journey progressed, he gradually developed a modern style without excesses.

"Until I was 50 years old, painting was the one that dominated me; after I turned 50, I managed to subdue it, and from then on, I was the one who mastered it."
— Theodor Pallady

Pallady's painting contains all the plastic language elements of the artwork: lines, colors, shapes, masterfully using drawing as well as chromatic composition in a perfect style. Chromatically, Pallady uses muted tones of grays combined with geometric drawings. An exceptional piece is "The Artist's Hat and Umbrella," in which the artist demonstrates his exceptional skill as a colorist and, at the same time, a great draftsman.

Jean Al. Steriadi (1880-1956)

Like other painters of the era, Jean Al. Steriadi (1880-1956) follows the same path to becoming a perfected painter. In 1904, in Paris, he exhibits a painting titled "Chivuțele din Piața Mare" at the "Salon of Autumn." Upon returning to the country, he joins the ranks of the "Tinerimea Artistică" where he exhibits numerous paintings, portraits, compositions, and landscapes, created with precision, some even having chiaroscuro effects (e.g., "Hamali în port"). With a refinement and visual culture worthy of a modern artist, he creates remarkable works such as: "Crapii," "Still Life with a Pipe and Fruits," and "Plate with Crayfish." His landscapes capture moments of summer afternoons with a scorching atmosphere and intense light. Special importance is given to the technique of engraving, with Steriadi being deeply passionate about it.

Nicolae Dărăscu (1883-1959)

After completing his studies in Paris, Dărăscu returns to the country as an adherent of Neo-Impressionism, but at the same time, through his use of color, he approaches the Cezannian influence, accepting echoes of Fauvism from that period. Dărăscu is part of the group of Romanian painters, such as Grigorescu, Andreescu, and Luchian, due to the painting style he employs. He favors aquatic themes, and his forms absorb light or are enveloped in the mist of a gloomy day, always maintaining a discernible consistency. He particularly focuses on panoramic views, such as in the Bucharest landscape "Piața Teatrului Național pe ploaie," which is one of his most well-known works.

Nicolae Tonitza (1886-1940)

Nicolae Tonitza, being an admirer of Luchian, adopts his style but also brings influences from modern painting, with decorative accents, creating his own unique style. His beginnings in painting have an expressionist tone with narrative accents, especially evident in his drawings. Tonitza has a vast body of work consisting of landscapes, portraits, still lifes, interiors, and nudes, all of which express a subtle lyricism, as seen in the portrait of the writer "Gala Galaction." In this painting, harsh, angular forms suggest tragedy. Even in the pure faces of the children he painted, there is a shadow of sadness ("The Forester's Little Girl," "Cătiușa Lipoveanca," or "The Dutch Girl"). In still life paintings, Tonitza depicts objects of popular art and enhances the luminosity of colors. Tonitza is not only a painter but also a masterful graphic artist and a teacher to his students, including Corneliu Baba.

Nicolae Tonitza Self-portrait
Irina
Galaction
The forester s little girl
The garden from Văleni
The line for bread
Sf. Spiridon Market
Cătiușa Lipoveanca

Iosif Iser (1881-1958)

Iosif Iser, a follower of Expressionism and Cubism, is one of the Romanian artists of the era profoundly influenced by the artistic atmosphere of Paris. The artist brought significant changes to Romanian art by engaging with the most innovative artistic movements of the time. Iser drew inspiration from rural life, having direct contact with the Dobrogean landscape; he frequently painted landscapes as well as human faces imbued with exoticism. His composition "Family of Tatars" is a remarkable work, incorporating elements of Cubism arranged in a modernist manner. This painting depicts characters that exude a sense of tragedy, a characteristic often present in many of his works.

Sculpture

In the first half of the 20th century, Romanian sculpture will be marked by two great sculptors, Dimitrie Paciurea and Constantin Brâncuși.

Dimitrie Paciurea (1873-1932)

Also known as the "Luchian of Romanian sculpture," Dimitrie Paciurea brings a touch of modernism to Romanian sculpture. Paciurea studied at the "School of Fine Arts in Bucharest", where he had Wladimir Hegel as a professor. Between 1896 and 1900, he studied in Paris, being impressed by Rodin's art and also coming into contact with the atmosphere of Art Nouveau. His masterpiece "Gigantul" (1907), designed for Filaret Park, was the only significant commission he received after returning to Romania. Paciurea found fulfillment mainly in portraiture, creating works like "Himerele". He executed numerous portraits of his contemporaries, including Petrașcu, Luchian, Hașdeu, as well as portraits of prominent figures from world culture. Spiru Haret, Beethoven, Tolstoi, Shakespeare.

Constantin Brâncuși (1876-1957)

Constantin Brâncuși, recognized for his extraordinary talent, attended the School of Arts and Crafts in Craiova, the School of Fine Arts in Bucharest, and then the School of Fine Arts in Paris. Brâncuși is positioned at the opposite pole of Paciurea, adopting a different style in sculpture. He learned the technique of modeling in Rodin's workshop in Paris. Among his most notable works are "Portrait of the Painter Dărăscu", "Orgoliu", "Supliciu", "Rugăciunea", "The Kiss", and "Cumințenia pământului" (The Wisdom of the Earth).

Some of Brâncuși's works are inspired by the stylistics of Byzantine art, such as "Rugăciunea" (The Prayer). In the two works "The Kiss" and "Cumințenia pământului" (The Wisdom of the Earth), Brâncuși moves away from modeling and uses stone carving to create the sensation of an archaic work. In 1910, he begins sculpting in wood, returning to the techniques of Romanian folk art as well as African sculpture, as seen in his sculpture "Pasărea măiastră" (The Masterful Bird). In 1918, he carves the first columns in wood, which will take their definitive form in 1938 as the "Coloana fără sfârșit" (Endless Column), part of the ensemble at Târgu Jiu. The ensemble was created in memory of the soldiers who died in World War I. The path on which the elements of the ensemble are placed starts with the "Masa tăcerii" (Table of Silence), continues with the "Poarta Sărutului" (The Gate of the Kiss), representing the territory of love, followed by the church placed on the same axis, and ends with the "Coloana" as a symbol of spiritual ascension.

Footnote

^ Popescu, Alexandru (2018). Casele și Palatele Bucureștilor (in Romanian). Editura Cetatea de Scaun. p. 150. ISBN 978-606-537-382-2.
^ Mariana Celac, Octavian Carabela and Marius Marcu-Lapadat (2017). Bucharest Architecture - an annotated guide. Ordinul Arhitecților din România. p. 85. ISBN 978-973-0-23884-6.

Bibliography

Mihaela Buliga și Bogdan Panțu, Istoria Artei și Arhitecturii, pag. 121-147

Supplementary lecture

Arta românească în secolul XIX, Ion Frunzetti, Editura Meridiane, 1991

External links

Arhitectura de factură romantică
FOTO Cum s-a născut România modernă, 24 ianuarie 2013, Doinel Tronaru, Adevărul
Evoluția artelor plastice în primul deceniu comunist, 1945-1953 Archived 2018-12-21 at the Wayback Machine, old.arhivelenationale.ro

[[Category:20th century in art]] [[Category:19th century in art]] [[Category:Romanian art]]

[1] Popescu, Alexandru (2018). Casele și Palatele Bucureștilor (in Romanian). Editura Cetatea de Scaun. p. 150. ISBN 978-606-537-382-2.

[2] Mariana Celac, Octavian Carabela and Marius Marcu-Lapadat (2017). Bucharest Architecture - an annotated guide. Ordinul Arhitecților din România. p. 85. ISBN 978-973-0-23884-6.

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