TOME 4 (48), 2014
DANA JENEI
The Passion, Death and Resurrection Murals Painted inside St.
Matthias Church in Râşnov (1500)
Résumé
L’église paroissiale
Saint-Matthias de Râșnov, une basilique romane à trois nefs et tour-clocher à
l’ouest, a été construite au XIIIe siècle et modifiée successivement jusq'à la
fin du XVe siècle, lorsque l’encadrement de la sacristie, avec la profilature
du début de la Renaissance a été installé.
À l’intérieur, seulement l’ensemble peint en 1500 sur le mur nord du choeur,
représentant le Cycle de la Passion, Mort et Résurrection du Christ est visible
maintenant.
Des traces de couleur à
l’extérieur ont été mentionnées par Walter Horwath en 1928, Virgil Vătăşianu en
1959 et Vasile Drăguț en 1965, l’image très endommagée représentant Jésus de
l'Eucharistie étant découverte sur le nord de l’abside. Au-dessus, dans la section où le plâtre a
été enlevé, un fragment de cadre d'une peinture plus tardive a apparu aussi,
tandis que l'an 1594 est écrit sur la couche supérieure.
Le Cycle Pascal, comme le motif dévotionnel Vir dolorum peint avant, est lié à la présence du
Saint-Sacrement dans la niche du tabernacle (remplacé en 1753 par un ex-voto), étant intégré dans le contexte plus
large de la préparation liturgique, évoquant à la fois les pratiques et les
croyances du courant spirituel Devotio moderna. Dix images ont été peintes symétriquement sur le mur
des deux baies du choeur dont la succession n’a pas été respectée pour mettre
en évidence la Cène et la Crucifixion, situés dans les tympans. La Prière dans
le jardin, l’Ecce Homo,
peut-être le Couronnement d’épines et la Flagellation (le dernier, dans une
variante iconographique rare, inspiré par le cycle des gravures d’Allemagne du
Sud, intitulé «Les sept chutes de Jésus et les sept douleurs de Marie», c.
1480), sont en grande partie couverts de chaux. Vers l’abside, se trouvent le
Portement et la Descente de la Croix, la Mise au tombeau, avec l’an 1500 peint
au-dessus, et la Résurrection.
L’ensemble se rattache, comme iconographie et style, à la tradition de la
peinture des successeurs sud-allemands de Hans Pleydenwurff – Michael Wolgemut
à Nuremberg, Wolfgang Katzheimer à Bamberg et Hans Sienbenbürger à Vienne. Le
retable de Schottenstift, ouvrage de référence du dernier réalisé avec son
atelier a été vraisemblablement connu par le peintre de Râșnov, qui utilise
également des motifs issues directement de l’art néerlandais, et moins les
sources graphiques comme les oeuvres transylvaines à dix-quinze années plus
tôt, en créant des compositions originales dont, au moins, le Portement et la
Descente de la Croix sont des contributions originales à la peinture européenne
de cette époque de passage entre Gothique et Renaissance.
Keywords: Transylvania, Râșnov, mural painting, iconography, Passion Cycle, Late
Middle Ages.
ADRIAN-SILVAN
IONESCU
„The City of Pleasure”: Romantic Bucharest through the 19th
Century Travellers’ Eyes and Pioneer Photographers’ Lenses
Abstract
The urbanism principles and regulations were
unknown before 1830s in the two Romanian Principalities, Wallachia and Moldavia.
Everybody could build his house wherever he pleased. Most of the houses were
surrounded by huge courtyards and always enjoyed a vegetable patch in the
backyard. Most of the towns look like merely large villages. Between 1830 and
1840, foreign architects – mainly Germans, Austrians, Italians
or French – flogged in and were commissioned to design the newly-founded City Halls
and other grand scale buildings for public use. Most of the foreign travellers
to the Romanian Principalities were astonished and at the same time captivated
to see Bucharest, the capital city of Wallachia later of the realm of Romania,
with its straggling streets, running from nowhere to nowhere, lacking any
concept of urbanism. Even in the second half of the 19th century things had not
changed much.
Photographers were also attracted to take
cityscapes and to document their town at a certain time. Szathmari, Baer,
Duschek, Reiser, Pesky and Spirescu were leading Bucharest photographers who took pictures on
the streets or captured old monuments on their wet collodion plates. Through
excerpts from travel memoirs and pictures by outstanding photographers “The City
of Pleasure”, as Bucharest
was called by some of its enthusiastic foreign visitors, is portrayed in its
most picturesque times.
Keywords: photography, architecture, urbanism, boyars’ residences,
public buildings, foreign travelers’ memoirs.
ADRIANA DUMITRAN
Arta
fotografică a lui Iosif Berman (1890–1941)
Abstract
Iosif Berman was one of
the most prolific and well known Romanian photojournalist in the interwar
period in Romania.
His work and legacy fell into oblivion after his death, in 1941. Only in the
last two decades, due largely to his daughter’s efforts, his work came into
light again raising the interest of the journalists, photo historians, artists
and the public. He is generally known for the images of the interwar Bucharest, pictures of
the political elite and members of the Romanian Royal House and pictures of the
Romanian villages made during his participation as photographer at the
Sociological Campaigns of Dimitrie Gusti. Scattered in numerous illustrated
magazines and newspapers and in public collections lay thousands of
photographs, an invitation to photo historians to analyze many other aspects of
his creation. This article aims to sketch an evaluation of the artistic values
of Iosif Berman photography, his relations as artist with his subjects and
themes and his reflections on the world and his time.
Keywords: Iosif
Berman, photojournalism, interwar Romania, photographic portraits.
CARMEN
BRAD
Teorii
artistice chineze în perioada celor Şase Dinastii (265–589). Introducere în pictura de peisaj de Zong Bing
Abstract
The present article provides the first Romanian
version of the Preface on
Landscape Painting (Hua shanshui xu) by
Chinese painter Zong Bing (375–443). The text, alongside other critical
writings on early artistic theories in China, has reached us through the monumental
Record of Famous Paintings of Successive
Dynasties (Lidai minghua ji) by Zhang Yanyuan (815–875).
The essay is singular among contemporary writings
in that it attempts to state, yet unsystematically and in no clearly defined terms,
the basic principles of landscape painting in a period dominated by religious
and narrative painting.
Not without its literary merits Zong Bing’s short
essay retains an appealing archaic flavour. Philosophic tenets central to the representation
of the natural world are ingeniously intertwined with comments on the
importance of an accurate placing and positioning of the constituent elements
of the composition, as well as with technical suggestions regarding the
succession of planes on the painted surface.
The full text translation is preceded by a brief
outline of the cultural and religious climate at a time of social and political
upheaval witnessed by the author during his lifetime. It affords a subtler
insight into his intellectual imagination which draws on the ethical and moral
values of Confucianism, on the Daoist doctrines of the School
of Mystery and the Buddhist concept of
Pure Land.
In a simple direct style inspired by the wisdom of
ancient scholars and his own experience Zong Bing provides the artist with a
set of paradigmatic moral norms which establish landscape painting as an
ultimate spiritual experience. Through the painted landscape the artist shares
into the mystery of creation; the painting transcends its artefact status and
the masterful artistic invention becomes a substitute for real nature with a
meaningful spiritual component.
Zong Bing’s seminal essay sets a series of
essential landmarks in landscape painting theory which will remain more or less
unchanged over the centuries. His ideas will be further developed and
reinterpreted by his followers, in keeping with the preeminent role which
landscape will come to play in Chinese painting.
Keywords: China, painting, artistic theories, Zong Bing, Six Dinasties.
GABRIEL BADEA-PĂUN
În căutarea
unei colecţii pierdute – Colecţia lui Mihail Kogălniceanu
Résumé
La
collection de peinture ancienne et moderne de Mihail Kogălniceanu fut, après
celle de la famille royale, la plus importante collection d’art dans la
Roumanie de la seconde moitié du XIXe siècle. Elle était riche de plusieurs
centaines d’oeuvres, dont des tableaux signés ou attribués à Altdorfer,
Bassano, Bellini, Blomaert, Bol, Boucher, Cranach l’Ancien, Fragonard, Hals,
Jordaens, Mignard, Poussin, Reni, Rubens, Ruysdael, Tiepolo, Titien, Veronese,
Zeitblom, ainsi que des oeuvres des petits maîtres allemands et autrichiens
contemporains, tels W. von Kaulbach, Makart. Exposée du vivant de son créateur
dans une pinacothèque voisinant sa demeure, elle fut proposée pour acquisition à
l’Etat, mais, devant le refus du gouvernement libéral de D. A. Sturdza, elle
fut finalement vendue lors de trois vacations le 9–10 XII 1887 par la Maison
Heberle de Cologne (188 oeuvres) et ensuite le 1 IV 1896 et en mars 1897 à
Bucarest.
Notre
étude basée sur les riches archives de Kogălniceanu et sur le catalogue de la
vente Heberle tente de présenter la genèse de la collection et ses oeuvres les
plus importantes.
Keywords: Kogălniceanu;
ancient painting; 19th Century painting; 19th Century collection;
Bellini-Makart-Zeitblom-Heberle.
DOINA LEMNY
„Est-ce une femme ou un oeuf?”, la participation
remarquée de Brancusi à l’Armory Show
Résumé
«Is she a Lady or an Egg?»,
titrait avec provocation la presse américaine, en s’interrogeant sur une des
cinq sculptures de Brancusi présentées dans l’exposition de l’Armory Show, en
1913: Le Baiser, 1907–08, plâtre, Muse endormie, 1910, plâtre, Une Muse, 1912,
plâtre, Mlle Pogany I, 1913, plâtre, Torse de femme, 1912, marbre, cette dernière
prêtée par Arthur B. Davies seulement à
Keywords: Brancusi, Armory Show; le
Baiser; Une
Muse; Pogany.
NOTE ȘI DOCUMENTE [NOTES AND DOCUMENTS]
MIHAI SORIN RĂDULESCU
În
jurul genealogiei lui Barbu Brezianu (I)
Résumé
L’article
présente l’ascendance du feu historien de l’art Barbu Brezianu (1909–2008),
petit-fils du commandant Eftimie Ulescu, participant à la Guerre d’Indépendance
de 1877–1878, et arrière-petit-fils du colonel Istrate Sămeşescu, ministre de
la Guerre en 1862. Par les femmes, Barbu Brezianu descendait des familles
Hinna, Ullescu, Grădişteanu (du district de Prahova, une autre famille que
celle originaire du village de Grădiştea, dans le district d’Ilfov) et Bosianu.
Ses ancêtres étaient pour la plupart des Roumains, mais il y avait également
des Grecs dans son ascendance.
La
filiation de la famille Brezianu remonte au «polcovnic» (colonel) Constantin
Brezianu de Fefelei (aujourd’hui englobé dans la ville de Mizil, dans le
district de Prahova). Son fils, Mareş Brezianu, a eu à son tour comme fils
Vasile Mareş Brezianu, grand-père du côté paternel de l’historien de l’art et
poète Barbu Brezianu. Une autre branche intéressante de la famille Brezianu descendait
du «pitar» Iancu Brezianu, un autre fils de Mareş Brezianu.
Sa
première épouse, Adina Assan, était la fille de Basil G. Assan, l’un des héritiers
du moulin à vapeurs Assan de Bucarest, voyageur autour du monde et publiciste. Sa
seconde épouse, Irina Fortunescu, était la nièce du professeur C. D. Fortunescu,
l’un des fondateurs de la prestigieuse revue Arhivele Olteniei.
Keywords: Brezianu, Ullescu, Sămeşescu, Hinna, Bozianu, Assan,
genealogy, family, art historian, Brâncuşi.
ALIN CIUPALĂ
Testamentul academicianului George Oprescu, întemeietorul
Institutului de Istoria Artei al Academiei Române
Abstract
The present published material completes the
biography of the Romanian savant George Oprescu. The act shows us the manner in
which the academician related to his work, the way in which he chose to ensure
the posterity of his collections, rich library and documentary archive. The
pages of his will speak to us also about a personality’s generosity who proved
to be until today an example of rigorousness, scientific audacity and altruism.
Keywords: George Oprescu, will, collections, assistants, Romanian Academy.
ARHIVA [ARCHIVE]
IOANA
IANCOVESCU
Biserica
domnească din Târgovişte. Pictura de secol XVI
Full text
ECATERINA
CINCHEZA-BUCULEI
Pictura
pronaosului bisericii Mănăstirii Humor
Full text
CRONICA ŞI VIAŢA ŞTIINŢIFICĂ [EXHIBITION AND CONFERENCE REVIEWS]
Expoziţia George Catlin, American Indian Portraits, National Portrait Gallery, London și Birmingham Museum and Art Gallery, Birmingham, 12 iulie – 13 oct. 2013 (Adrian-Silvan Ionescu), p. 219
Expoziţia Indiens des Plaines, Paris, Musée du Quai Branly, 8–20 iulie 2014 (Adrian-Silvan Ionescu), p. 223
Două expoziţii retrospective Iosif Berman, Bucureşti, Muzeul Naţional Cotroceni, 25 sept. – 25 oct. 2013; Biblioteca Naţională a României, 23 oct. 2013 – 31 ian. 2014 (Adrian-Silvan Ionescu), p. 228
Retrospectiva Joseph O’Sickey, Canton Museum of
Art, Canton,
Expoziţia Studiile de atelier la Şcoala de Belle Arte, Biblioteca Academiei Române, 5–25 mai 2014 (Adrian-Silvan Ionescu), p. 233
Conferinţa naţională 150 de ani de învăţământ naţional şi Academia Română, Bucureşti, Academia Română, 5–6 mai 2014 (Virginia Barbu și Ruxanda Beldiman), p. 238
Paul Vasilescu (1936–2012), expoziţie de sculptură, Bucureşti, Galeria Simeza, mai 2014 (Ioana Vlasiu), p. 240
Expozitia Haina îl face pe om. Şase secole de istorie vestimentară, Muzeul Naţional de Istorie a României, 15 mai – 24 august 2014 (Adrian-Silvan Ionescu), p. 242
Epoca Biedermeier în Țările Române (1815–1859), Muzeul Naţional de Artă, Bucureşti, 6 decembrie 2013 – 27 aprilie 2014 (Ioana Vlasiu), p. 249
Expoziţia Truth and Memory, Imperial War Museum, Londra, 19 iulie 2014 – 8 martie 2014 (Adrian-Silvan Ionescu), p. 250
Expoziţia Lee Miller: A Romanian Rhapsody, Centrul Cultural Românesc/Fundaţia Raţiu, Londra, 10 iulie – 17 august 2014 (Adrian-Silvan Ionescu), p. 255
Simpozionul Symbolisme et esthétique modernes dans les Balkans. Réexamen(s) critique(s), Paris, Sorbonne, 8–9 noiembrie 2013 (Corina Teacă), p. 262
Întâlnirile de miercuri, Bucureşti, Institutul de Istoria Artei „G. Oprescu” (Alin Ciupală), p. 262
RECENZII [BOOK REVIEWS]
WOLFGANG STEINER, Hinterglas und Kupferstich – Hinterglasgemälde und ihre Vorlagen 1550–1850 (Diana Iuliana Barbu), p. 265
ALEXANDRU PĂCURAR, Incursiune în memoria locurilor (Horia Vl. Şerbănescu), p. 266
CONSTANTIN PRUT, Olga Smolenschi. Revelaţiile unui sculptor (Alin Ciupală), p. 267
ADAM BĂLȚATU, Voiam să fiu pictor... Însemnări (Alin Ciupală), p. 268
RUXANDA BELDIMAN, MIRCEA HORTOPAN, NARCIS DORIN ION, SORIN VASILESCU, Arhitectul ceh al Casei Regale a României Karel Zdeněk Líman/The Czech Architect to the Romanian Royal Court (Alin Ciupală), p. 269
CĂTĂLIN BĂLESCU, EUGEN ALEXANDRU GUSTEA, ADRIAN GUȚĂ (coordonatori), Universitatea Naţională de Arte din Bucureşti, 150 de ani (Adrian-Silvan Ionescu), p. 270
OLIVIA NIȚIŞ, Istorii marginale ale artei feministe. Moştenirea vestică în Europa centrală, estică şi de sud-est: influenţe şi diferenţe (Alin Ciupală), p. 272
ADRIAN-SILVAN IONESCU (editor), Szathmári: Pionier al fotografiei şi contemporanii săi/Pioneering photographer and his contemporaries (Adriana Dumitran), p. 272
PAUL REZEANU, Istoria artelor plastice în Oltenia (1800–2000), vol. II (1919–2000) (Adrian-Silvan Ionescu), p. 275
REVISTA REVISTELOR [REVIEW OF REVIEWS]
Ars
Transsilvaniae, XXII/2012 (Dana Jenei), p. 279
De libris. Buletin bibliografic (2009-2014) (V. Barbu, A.S. Ionescu), p. 281
IN MEMORIAM
O viaţă dăruită: Ioana Cristache-Panait (1932–2014) (autor: Tereza Sinigalia)
Dan Hăulică: o eminentă personalitate a culturii române contemporane (autor: Valeriu Râpeanu)
Dan Hăulică (7 februarie 1932 – 17 august 2014) (autor: Adrian-Silvan Ionescu)
DESPRE AUTORI [ABOUT THE AUTHORS]
ABREVIERI [ABBREVIATIONS]
