Tomul 9 (53), 2019

„Un coridor cultural”. Răzvan Theodorescu la 80 de ani

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Arta şi artiştii secolului al XIX-lea în viziunea istoricilor artei secolului XX de la Institutul de Istoria Artei sau „Politică şi delicateţe”

The study of the nineteenth century fine arts (in what would become the Romanian Kingdom) became a primary and recurring theme, almost an obsession for most of the Romanian art historians of the twentieth century. Professor G. Oprescu was a pioneer, leading the way for both his students and his followers on this path. From the third decade of the twentieth century onwards, G. Oprescu dedicated his studies mainly to the art and artists of the nineteenth century. He pursued this topic all his life and urged and guided others to rally behind him. The first generation of researchers including the founders G. Oprescu, Ion Frunzetti, Mircea Popescu, Remus Niculescu, Theodor Enescu, Radu Bogdan, Teodora Voinescu, Amelia Pavel, Barbu Brezianu, Radu Ionescu who dedicated their endeavours to the nineteenth century Romanian art studies, emerged at the Institute of Art History in 1950s. They would be joined in the seventies and eighties by a younger generation made up by Gheorghe Cosma, Carmen Laura Dumitrescu, Mihai Ispir and Marius Tătaru who will continue these researches even though the interest for nineteenths century Romanian art diminished towards the end of the twentieth century.
Keywords: G. Oprescu, 19th century art, The Institute of Art History, Th. Aman, N. Grigorescu, I. Andreescu.

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George Peter Alexander Healy, un pictor american şi comenzile sale româneşti

George Peter Alexander Healy (1813-1894) was one of the greatest American portraitists of the 19th century. Great personalities like Abraham Lincoln, Andrew Jackson, John Quincy Adams, King Louis-Philippe, Pope Pius IX, Marshall Soult, Guizot, Gambetta, Hawthorne, Thackeray and Lizst served him as models. His talent was recognized both in Europe (Paris, London, Rome) and in his native country in a career of over six decades. In 1872 he met Princess Elisabeth, future Queen of Romania, in Rome, where Healy painted the famous full-size portrait of Queen Elisabeth in Romanian traditional gown with a belt around her waist. King Charles I, impressed by his talent, invites him to Sinaia where the artist spends four months and paints, in an improvised workshop at the Sinaia Monastery, several pieces: the portrait of Prince Charles, Princess Elisabeth and one more depicting Elisabeth with her daughter Maria. One year later the artist paints four other portraits of the future Royal couple, inspired by former paintings. In 1874 Healy paints a group portrait inspired by a famous photo by Franz Dushek, depicting Queen Elisabeth and the now deceased young Princess Maria. In 1881 Healey is invited once again in Romania. On this occasion the artist continues his work as Royal portraitist by completing two portraits of Queen Elisabeth wearing a tiara, two other portraits of King Charles I in Infantry General uniform, a full-size portrait of Carol I in Romanian Cavalry military uniform and two other portraits, one of them for the King’s own Regiment in Metz. Some of these works are housed by great Romanian museums like Peles National Museum, National Art Museum and also by private German collections. In 1872 Healy painted other portraits for some high Romanian dignitaries such as Scarlat Kretzulescu, portrait owned by the Museum of Bucharest. His memoirs were published right after his death in 1894 in Chicago, where the highly appreciated artist lived his last days and in 1954 his granddaughter Maria de Mare published in New York a thorough biography of her illustrious grandfather: “G. P. A. Healy. American Artist. An Intimate Chronicle of the Nineteenth Century”. Romania and the Royal House are highly depicted in both publications by referring to the connections of the artist with our country.
Keywords: portraitist, King, Queen, Romanian gown, military uniform, museum, commission, official painter.

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Marele Război văzut de artiștii brașoveni

The study The Great War As Seen by Artists from Brașov presents the partaking of artists such as Hans Eder, Fritz Kimm, Eduard Morres, and Ludwig Hesshaimer to the First World War, as appointed artists by the Austro-Hungarian army or as combatants who depicted scenes from the battlefront in their works. The study analyses how these artists have illustrated the war from a thematical and stylistical point of view, while also highlightening how such an experience has influenced their creation as a whole. While Fritz Kimm and Eduard Morres were not greatly influenced by the horrors of the Great War, Hans Eder’s adhesion to Expressionism intensified during 1914–1918 and thus remained defining for his entire creation. Also, Ludwig Hesshaimer has made many graphic artworks depicting war scenes, among which his two series of prints question the rationality of war. The study also mentions some aspects regarding the perception of the conflict as seen in the works of artists such as Valeriu Maximilian and Margarete Depner who were in Braşov during the war years.
Keywords: the First World War, war artists, painting, graphics, Braşov.

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Colonelul Andrei Potocki, un inedit artist militar, pionier al uniformologiei româneşti

The study presents the work and life of Colonel Andrei Vladimirovici Potocki, born in Sankt-Petersburg on 5th January 1886, who became officer of one of the most prestigious units of the Russian Imperial Guard, the “Pavlovski” Regiment. As early as the beginning of his military career, Andrei Potocki showed some artistic interest, drawing military uniforms, illustrating military photographic albums with graphic design vignettes or making cartoons for some of his regimental comrades. Within this elite regiment, Andrei Potocki bravely fought during the First World War and was decorated with important Russian imperial orders: St. Ana, St. Stanislas, St. Vladimir, St. George. During the war, he was wounded in action, in the battles of 1916. At the outbreak of the February Revolution of 1917 and especially after the Bolshevik coup of October 1917, Andrei Potocki, who reached the rank of Colonel, naturally chose to join the White movement. In 1919, he served as a division commander in the “Russian Volunteer Army of the West”, who fought in the Baltic region. After the defeat of the White movement, still in unclear circumstances, Andrei Potocki arrived in Romania where, in 1920, he met at Iasi and married Miss Cecilia Vrânceanu.
Since 1925, Andrei Potocki has started an intense collaboration with the National Military Museum in Bucharest, founded two years earlier in Park Carol. Initially he worked as an external graphic illustrator, then, after obtaining the Romanian citizenship in 1928, he obtained a permanent job, as a technical assistant (equivalent to current museographer). Interested on military history, benefiting of a real artistic skill and heaving a special power of work, Andrei Potocki made hundreds of drawings and watercolors representing weapons, decorations, uniforms, flags, most of which remained in the manuscript stage, and therefore they are a little or complete unknown to military historians.
His most important work is undoubtedly the famous album “The Uniforms of the Romanian Army, 1830-1930”, published in a mix Romanian-French version, at “Marvan” publishing house, in 1930, which is still today a reference work for the Romanian military historiography. Plates of Romanian soldiers from different epochs of modern history, copied from this album have been and continue to be reproduced, often without indicating or knowing the source. The publication of the album, initiated and encouraged by General Radu R. Rosetti, then President of the National Military Museum Council, led to Andrei Potocki’s promotion as a reserve senior officer of the Romanian Army in 1929 and his awarding with the order “The Crown of Romania”, commander grade, on 10th May, 1930. During the following period, Colonel Andrei Potocki continued to work as a specialist in weapons and uniforms at the National Military Museum, producing a great number of drawings and color illustrations related to the past of the Romanian military or carrying out intensive research work, translating from Russian or German important works of uniformology or detecting and transcribing hundreds of official high orders related to the organization of the Romanian army found in periodical publications of the 19th century.
On 5th January 1946, at the age of 60, Colonel Andrei Potocki was kicked out of the National Military Museum, being pensioned, in time to not endure the persecutions which affected the officers of the former Tsarist army, especially those who fought against the Red Army during the Russian Civil War.
Andrei Potocki died in unknown circumstances in 1957 and was buried at Bellu Cemetery in Bucharest.
Keywords: Colonel Andrei Potocki, artist, museologist, uniforms, Russian army, National Military Museum.

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Costin Petrescu la New York: în slujba patriei şi a artei (II)

This article focuses on an yet unknown chapter of the life and work of the Romanian painter Costin Petrescu (1872–1954); based on unpublished documents from Romanian and American archives, very little, or not at all researched by specialists, it analyses the time spent by the Romanian painter in the U.S. He traveled to New York (November 1919–March 1920), on the official mission of supervising the printing of the new Romanian paper currency, designed by himself, at the American Bank Note Company. After the 1918 Union, monetary unification became a priority of the new Romanian Government. During his stay in New York, Costin Petrescu met a number of outstanding personalities of the Romanian diaspora of the time, such as the professor, writer and journalist Leon Feraru, as well as remarkable members of the New York intellectual and art scene, among which the poet Edwin Markham and the writer and art connoisseur Jeanne Robert Foster, whose portraits he painted, or William Henry Fox, then Director of the Brooklyn Museum, with whom he planned an ample exhibition of Romanian art in the U.S. After his return to Bucharest, Costin Petrescu continued to work on this project, proven by his meeting with Stewart Culin, the curator of the Brooklyn Museum, who traveled to Bucharest. Although, eventually, the exhibition did not materialize, all of these emphasize Costin Petrescu’s profound commitment and loyalty to his country and his engagement with promoting Romanian art, and Romania, in the U.S., at the highest levels. The article offers unpublished data and analysis useful for a better understanding of the modern Romanian identity, of Romania’s image in the U.S., as well as of the immediate aftermath of the 1918 Union.
Keywords: Edwin Markham, Jeanne Robert Foster, Brancusi, William Henry Fox, Brooklyn Museum, Stewart Culin, Romanian modern art and identity.

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Câteva observaţii legate de Grottesca în textele de artă manieriste

This essay analyses Grottesca and the comments on it in the Italian art treatises of Cinquecento.
Keywords: Mannerism, grottesque, fantastic imitation.

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Addenda et corrigenda. Câteva inscripţii brâncoveneşti inedite

The article presents newly discovered Brancovan inscriptions from the churches in Râmnicu Sărat, Gura Motrului and Băbeni-Buzău, mainly consisting of signatures of painters, but also of dedicatory inscriptions reread after recent restorations. The new data complement and correct the known information about the above-mentioned churches.
KeywordsBrancovan painters; Wallachia; Constantinos; Pârvu Mutu; Pârvu Fălcoianu; Andrei; pope Nicolae the painter.

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Pe urmele meşterului Stoica din Goleşti. O ipoteză istorică

Quelques données sur le maître Stoica, auteur du complexe de Goleşti, qui signe sa création et inaugure l’usage des ornements orientaux.
Keywords: Stoica, l’église de Goleşti ; les inscriptions «Stoica maistor» ; la croix haute de Ialomiţa.

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Ediția a XV-a a Sesiunii anuale de comunicări științifice Date noi în cercetarea artei medievale și premoderne din România, Muzeul Național de Artă al României, București, 3 decembrie 2018 (cercetătorii compartimentului „Artă și Arhitectură medievală” al Institutului de Istoria Artei „G. Oprescu”), p. 177

Sesiunea omagială Ion Frunzetti, magistrul nostru: un secol de la naștere, Institutul de Istoria Artei „G. Oprescu”, București, 28 noiembrie 2018 (Ioana Apostol), p. 183

Conferința Cultural Identity, Geography of Encounter & the Politics of Space/Time. A Reflection on the Tyler Collection of Romanian and Modern Art, Columbia University, New York, 3 aprilie 2019 (Eduard Andrei), p. 185

Expoziția Portretul unei țări. România Mare în fotografiile lui Hoppé, 1923, Sala Th. Pallady, Biblioteca Academiei Române, București, 21 mai – 20 iunie 2019; Muzeul Civilizației Urbane a Brașovului, Brașov, 28 octombrie 2019 – 15 februarie 2020 (Adrian-Silvan Ionescu), p. 188

Conferinţa Academicianul G. Oprescu – profesor, ctitor, donator, Aula Academiei Române, București; inaugurarea Muzeului de Artă al Academiei Române „G. Oprescu”, București, 27 noiembrie 2019 (Ioana Apostol, Ramona Caramelea), p. 197

Lansarea sintezei Arta din România, din preistorie în contemporaneitate, Academia Română, București, 9 iulie 2019 (Ramona Caramelea), p. 201

Congresul Internațional de Studii Sud-Est Europene, ediția a XII-a, București, 2–6 septembrie 2019 (Elisabeta Negrău), p. 203

Expoziția Univers infantil. Imagini, veșminte și colecții din secolul al XIX-lea, Sala Theodor Pallady a Bibliotecii Academiei Române, București, 2-17 septembrie și 4-20 octombrie 2019 (Adrian-Silvan Ionescu), p. 205

Expoziția Grand Procession: Contemporary Plains Indian Dolls from the Charles and Valerie Diker Collection, Heard Museum, Phoenix, Arizona, 20 aprilie 2019 – 17 aprilie 2020 (Adrian-Silvan Ionescu), p. 213

Thielska Galleriet – Galeria de artă Thiel din Stockholm (Isabella Drăghici), p. 222

Expoziția Omul și peisajul în grafica lui Gheorghe Petrașcu, Cabinetul de Stampe, Biblioteca Academiei Române, București, 26 iunie – 19 iulie 2019 (Virginia Barbu), p. 227

Expoziția Toulouse-Lautrec: résolument moderne, Grand Palais, Paris, 9 octombrie 2019 – 27 ianuarie 2020 (Adrian-Silvan Ionescu), p. 232

Premiul „G. Oprescu” al Academiei Române, p. 243

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CRISTINA COJOCARU, ELISABETA NEGRĂU, SULTANA-RUXANDRA POLIZU, monahia ATANASIA VĂETIŞI, Iconostase din București. Secolele XVII–XIX, Ed. Cuvântul Vieții, București, 2017, 270 p. + il. (Marina Sabados), p. 245

ALEXANDRU MEXI, Grădinile castelului Peleș: mitologie dinastică și peisaj cultural, Ed. Simetria, București, 2017, 168 p. + il. (Ramona Caramelea), p. 247

LIGIA FULGA, GABRIELA CHIRU, Discursul ritual și costumul tradițional din sud-estul Transilvaniei, Muzeul de Etnografie Brașov, Brașov, 2018, 220 p. + il. (Adrian-Silvan Ionescu), p. 248

MAGDA PREDESCU, Utopie şi heterotopie în arta din România anilor 1950–1970. Variaţiile canonului artistic, Idea Design&Print, Cluj, 2018, 524 p. (Ioana Apostol), p. 250

FLORICA CRUCERU, Muzeul de Artă Constanța. Imagini şi documente, 1960-1984, StudIS, Iași, 2019, 416 p. text + il. alb-negru şi color, prefețe de Adina Nanu şi Marin Gherasim, index de artişti, critici de artă şi colecționari (Eduard Andrei), p. 252

ALEXANDRU GHEORGHIU, Hoțul de culori. De la gratia pușcăriei, la grația divină, 1989-2018, Ed. Aureo, Oradea, 2019, 118 p. + il. (Adrian-Silvan Ionescu), p. 257

THEODOR ENESCU, IOANA VLASIU, IRINA FORTUNESCU, CARMEN LIICEANU, VIORICA ANDREESCU, ELENA MATEESCU, GHEORGHE COSMA, SANDA AGALIDI, Repertoriul expozițiilor de artă din București: 1865-1918, Editura Vremea, colecția „Arte”, București, 2019, 192 p. + il., prefață de Adrian-Silvan Ionescu, postfață de Ioana Vlasiu, ediţie îngrijită de Ioana Apostol, Virginia Barbu, Ramona Caramelea, Corina Teacă sub coordonarea lui Adrian-Silvan Ionescu (Eduard Andrei), p. 258

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Buletin bibliografic 2014–2019, pp. 261–265


GHEORGHE VIDA (19462019) (autori: Ioana Vlasiu, Grigore Vida), p. 267

PAVEL CHIHAIA (19222019) (autor: Constantin I. Ciobanu), p. 285

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