Acad. MARIUS PORUMB
Revistele Institutului de Istoria Artei „G. Oprescu” la ceas aniversar
ADRIAN-SILVAN IONESCU
70/60
CONSTANTIN I. CIOBANU
Contribuţiile lui Pavel Chihaia la revistele Studii şi Cercetări de Istoria Artei și Revue Roumaine d’Histoire de l’Art
Abstract
Pavel Chihaia’s contributions to the magazines Studii și Cercetări de Istoria Artei (Studies and Research in Art History) and Revue Roumaine d’Histoire de l’Art. From 1958 and – with minor interruptions – until 1978, when together with his wife Maria-Ioana (Mira) he requested political asylum in Germany, Pavel Chihaia (1922–2019) was a researcher at the Institute of Art History in Bucharest. During the two decades when he worked in this institution Chihaia developed the major part of his scientific work – over seventy studies on the history of Romanian medieval and premodern art and culture – many of which were published in the pages of the two Institute’s magazines: Studii și Cercetări de Istoria Artei (Studies and Research in Art History) and Revue Roumaine d'Histoire de l'Art.
The purpose of this communication is to highlight the value of Pavel Chihaia's publications from the institute's periodicals, focusing on the following issues: 1) the research of the portraits of Mircea the Elder and his spouse Mara, from Brădet; 2) the construction stages in the incinta of the "Negru-Vodă" monastery in Campulung-Muscel; 3) the activity of Gheorghe Asachi in Italy; 4) the old self-portraits of the painters from Wallachia; 5) the tombstones of Matei Basarab and his family; 6) the carved coats of arms belonging to voivodes Vlad Dracul and Neagoe Basarab; 7) the Gothic monuments in the old residences of Wallachia; 8) the beginnings of the Govora monastery; 9) the history and typology of the church of Saint Demetrios from Râmnicul Vâlcea; 10) the Romanesque and Gothic monuments from the 13th and 14th centuries in Wallachia 11) the facade of Neagoe's church in Curtea de Argeș; 12) the problem of the origin and structure of the cities of residence in Wallachia (XIII–XVIII centuries); 13) some art history notes on the "Teachings of Neagoe Basarab to his son Theodosie"; 14) the unknown complex of hermits in the Buzău mountains from the time of Neagoe Basarab; 15) the typology of the fortresses of Mircea the Elder seen as monuments of independence and the crusade.
Pavel Chihaia tried and – largely succeeded – to identify and introduce into the scientific circuit some important features of the medieval and pre-modern civilization in the Romanian space. His basic idea is that the Wallachia – situated both in the area of influence of the West and of the Byzantium, later of the Ottoman Empire, – during the time period between the 14th and the 18th centuries had the at least two so-called pre-Renaissance – moments of significant remodeling of the mentalities, of the reception of the new Western cultural models and of their reintegration in an original artistic synthesis: the first in the first quarter of the 16th century and the second in the middle of the 17th century. Chihaia's publications from Studii și Cercetări de Istoria Artei and Revue Roumaine d'Histoire de l'Art constituted those launching pads where some of the scholar's basic theses took explicit shape for the first time, –theses – later developed and contained in a more nuanced and amplified form in the books, monographs, collections of his studies and interviews.
Keywords: Asachi Gheorghe, church of Saint Demetrios from Râmnicul Vâlcea, coats of arms belonging to Vlad Dracul, Govora monastery, hermits in the Buzău mountains, Mircea the Elder, Neagoe Basarab, self-portrait, tombstone of Matei Basarab.
VLAD SPĂTARIU
Vasile Drăguţ: arta de a trăi și a scrie despre artă
Abstract
Vasile Drăguţ is an important name in the field of arts. With an activity spread over more than three decades as an art historian and critic, as a pedagogue and director of institutions of great importance in the administration of cultural heritage, Drăguț is among those who, through his literary work, contributes even today to the preservation and academic dissemination of art. Endowed with a very special professional passion, he made use of all his activities in accomplishing his vocation of researching, recording and synthesizing information of great value, making them accessible to the general public through a series of publications in various specialized journals, small works, but also extensive synthesis works that are still part of the fundamental specialized literature, essential in training the young generation of specialists. Vasile Drăguț was a character whose activity combined several forms of the same passion, which manifested through different functions, focused on a clearly defined purpose, sometimes difficult to understand from the perspective of those who were his contemporaries. Today, looking back at a work that totals thousands and thousands of pages, photographs and video recordings dedicated to art, we can certainly speak of a life whose legacy has itself become part of the Cultural heritage.
Keywords: Art history, Vasile Drăguţ, preservation of art, Cultural heritage.
OZANA ALEXANDRESCU
Aspecte ale cercetării muzicologice în revistele institutului
Abstract
Aspects of Musicological Research in the Reviews of the Institute of Art History in the 1950s–1960s. The two reviews of the Institute of Art History – Studii şi Cercetări de Istoria Artei (SCIA) and Revue Roumaine d’Histoire de l’Art (RRHA) – reflected the activity of the members of the musicology sector through articles comprising the results of their research, commentaries of publications from the contemporaneity of the field, and notes on important events in musical life. For the first decades of publication of the two periodicals, the paper passes in review titles that offer a synoptic view of the thematic diversity of the published materials. The second part of the presentation focuses on several significant studies conceived by four musicologists who were members of the specialized sector: Elena Zottoviceanu, Gheorghe Firca, Clemansa Firca, and Daniel Suceava. This analysis outlines the outstanding aspects of their work in the context of the field. The selected articles by the four authors represent important contributions to the overall Romanian musicological research.
Keywords: Institute of Art History publications, music history, musicology, thematic diversity, Institute of Art History researchers.
ADRIANA DUMITRAN
Despre fotografie și fotografi în revistele Institutului de Istoria Artei „G. Oprescu”
Abstract
The paper aims to trace the evolution of the presence of photography in the Journals of the G. Oprescu Institute of Art History from a simple illustration to a subject of study in itself. Until 1989, photography was sporadically presented mainly for its value in documenting theatrical performances. After 2011, the new director, Dr. Adrian-Silvan Ionescu, a passionate historian of photography, opened the journals to this field, constantly inviting to publish young researchers from Romania and well-known historians from abroad to whom his own research was added.
Articles on the work and biography of important Romanian photographers such as Carol Szathmári, Franz Duschek, Ioan Spirescu, Iosif Berman, Adolf Klingsberg are complemented by research on photographers from several continents such as Lee Miller, Emil Otto Hoppé, Edward S. Curtis or photography from India. The published studies have examined a multitude of photographic genres (portrait, ethnographic, architectural and landscape, war, press, avant-garde) and artistic trends up to the present day.
Keywords: G. Oprescu Institute of Art History, photography, history of photography in Romania, history of photography.
VIRGINIA BARBU
Constantin Brâncuși în Revue Roumaine d’Histoire de l’Art. Scrierile lui Barbu Brezianu și relevanţa lor în plan internaţional
Abstract
The paper focuses on the articles published by Barbu Brezianu (1909-2008) in the first two issues of Revue Roumaine dʼHistoire de lʼArt: Les Débuts de Brancusi and Pages inédites de la correspondance de Brancusi (RRHA, no. 1 and no. 2, 1964). Drawing on the results of archival and field research carried out during the first decade of his employment at the Institute, Brezianu brings to light documents relating to the sculptor’s years of schooling, early works, projects, critical reception in Romania before his departure for Paris, aspects unknown in the literature until the mid-1960s. At the then stage of knowledge of Brâncuşi’s life and work abroad, as reflected in the main monographs published – Cristian Zervos (1957), David Lewis (1957), Carola Giedion-Welcker (1958), Ionel Jianu (1963) – the artist appeared shrouded in a legendary, timeless aura, in the absence of concrete coordinates that would place him in the cultural area he belonged, Brezianu’s discoveries essentially filling in the gaps of his artistic biography. The paper traces the impact of these and other articles published by Brezianu in the RRHA, analyzing the versions published in international academic journals such as Art Journal (New York), Lettres françaises (Paris), One (London), in the particular circumstances of collaborations between specialists, and in the broader context of art historiography of the period.
Keywords: sculpture, writing on Brancusi, Romanian art historiography, international recognition.
CǍTǍLINA MACOVEI
Remus Niculescu, cercetări din tinereţe asupra secolului al XIX-lea și nu numai, publicate în SCIA
Abstract
Browsing through the work of art critic Remus Niculescu we decided to focus on his studies about XIXth century Romanian and foreign artists who had a major contribution in the establishment of modern Romanian painting and sculpture and their alignment with the international context of the day.
We will primarily be referring to the work of painter Nicolae Grigorescu, whom Remus Niculescu accompanies all the way from his novice days, through key moments in his religious painting, and then during his study years in France, revealing to us, step by step, heartfelt memories of friends which stood beside him until his last moments. For Niculescu, even the stylistic characterization of Grigorescu’s work falls between classicism and romanticism, being confined to his formative years of artistic and intellectual wanderings.
Our observations do not extend to the whole of Niculescu’s work, scattered between many Romanian and foregin magazines, but only to those articles published in…
Keywords: Grigorescu, Fontainebleau, drawing, miniature, Niculescu.
ADRIAN-SILVAN IONESCU
Elogierea cercetătorilor defuncţi în paginile SCIA – de la ferpar la oraţie funebră. Elemente de stil și de gust
Abstract
From the very first issues of the journal "Studii și Cercetări de Istoria Artei" (Studies and Research in Art History), which appeared in 1954, obituaries have been published on its pages, marking the passing of important artists or scholars from the Institute of Art History, for which the journal served as its press organ. For renowned and acclaimed painters, extensive texts, written by Institute Director, Professor G. Oprescu, graced the magazine's opening pages. Such were the cases of the painters Jean Al. Steriadi in 1956 and Iosif Iser in 1958 respectively. Obituaries for researchers and fellows of the Institute were placed at the end of the magazine, limited to one page and more often unsigned.
An analysis of these obituaries and the names of those commemorated mirrored the prevailing political climate of the era and its enforcements. Notably, the appearance of obituaries for foreign personalities suggests a period of relative liberalization in Romania. For instance, obituaries were published for the art historians Erwin Panofsky in 1968, Louis Hautecoeur in 1974 and Jacques Lassaigne in 1983.
The style of prose chosen for these obituaries – personal/sentimental, neutral/official – as well as the inclusion of the deceased's bibliography or photograph, reflects sincere appreciation and lament, or the fulfillment of a simple obligation towards the deceased.
Keywords: Institutul de Istoria Artei, revista Studii și Cercetări de Istoria Artei, G. Oprescu, Ion Frunzetti, Remus Niculescu, Theodor Enescu, Vasile Drăguț, Dinu Giurescu, Răzvan Theodorescu, Corina Nicolescu, Mihai Ispir, Pavel Chihaia, Sorin Ullea.
ELENA OLARIU
Artiști români descoperind America
Abstract
During the first half of the 19th century, Romanian art has shown an important opening towards new cultural spaces and has recorded an unprecedented value growth. Throughout this epoch, most of Romanian artists were trained and were studying in Paris, were travelling to Europe (Austria, Germany, Italy, Spain, Great Britain) but also to North Africa and to the Orient. The „New World” also began to present a special interest for Romanian painters, sculptors or art gallery managers, and, after World War I, the contacts intensified substantially. The United States of America, the great worldwide power having become the ally of European states having won the war, showed an increasing interest for the art promoted in Paris, especially for modern artists or for those involved in avant-garde movements.
In the context of the topics dealt with by the present synthetic study, sculptor Carol Storck, who settled in Philadelphia during 1876–1880, was a pioneer. The phenomenon became even more interesting during the Interwar period, when Constantin Brâncuși became the star of the greatest art galleries, and then of the great contemporary art museums in America. During the communist period, the contacts of Romanian art with the European and American ones were interrupted, being maintained especially by the Romanian artists who managed to emmigrate, or by those who managed to travel throughout the 1970s, in a moment when the regime became more flexible, for a short amount of time. The artists having left Romania, or those who asserted themselves after the 1989 Revolution continued this phenomenon of Romanian art openness to trends abroad, and that of its international assertion.
The contact of our culture with European and American art knew many ups and downs, a research in this field, nowadays, having extraordinary possibilities of extension, even more so as, in the last period, more and more researchers have discovered – in Romanian or American archives – defining documents for the activity of artists having settled in America or having exhibited in various metropoles over the Ocean.
Keywords: American Art Gallery, Philadelphia, Carol Storck, Constantin Brâncuși, Eustațiu Stoenescu, Ileana Sonnabend, Cleveland, New York, Margareta Sterian, Corneliu Baba, Lena Constante.
SORIN CRISTESCU
Ion Stoica Dumitrescu (1886–1956) – pictor de prim rang al Războiului de Ȋntregire
Abstract
Stoica Dumitrescu, painter trained in Munich and under the influence of great Romanian masters, a painter both traditionalist and modern, academist and realist, immortalized in many of his paintings, less glorifying, the tragedies of simple people, of peasants, who through their heroism and sacrifice fulfilled the national dream ideal: Greater Romania.
Keywords: paintings with historical subjects, human tragedies of war, World War I.
MARIAN ȚUȚUI
Cinci ipoteze despre autorul primei proiecţii cinematografice la București
Abstract
Unfortunately, the history of Romanian cinema has some white spots. Paul Menu (1876–1973), the French photographer settled in Bucharest until World Word I, who participated in the first projection in Romania and took the first shots from the territory of our country, was interviewed by a reporter on Romanian Television shortly before he died (1970), but the reporter didn’t really know what to ask and thus the opportunity to find out from a witness who was the one who made the first cinema projection in Romania was missed. Therefore, today we have five hypotheses regarding the first projection, which we will discuss in this study. It could be Paul Menu, André Carr or Jules Guérin after the first film projection in Belgrade, Alexandre Louis Promio, who shot and screened films in Venice and Turkey, Louis Janin, who could have traveled relatively quickly from Istanbul, or even Félix Mesguich, who was sent to Russia and Greece and who projected the first films in Chișinău in 1896 or 1897. The Lumière Foundation has little data on Paul Menu, André Carr, Jules Guérin and Louis Janin, and no data on the first screening in Romania. However, it is possible, especially through collaboration with specialists from other countries, to finally find out who made the first film projection in Romania. Recently, data was found about the next projections in Romania, those of S. Petrescu in Constanța on July 21, 1896, as well as about a second projection in Bucharest by Georgi Kuzmić, in Bucharest, in February 1897 by George Kuzmić, who crossed the frozen Danube to make the first projection in Bulgaria, in Rousse on February 27, 1897. The hypothesis of the first film projection in Bucharest after the one in Belgrade is based on the fact that the operators of the Lumière company traveled making the first demonstration projections from West to East and from Belgrade they could have traveled reasonably quickly along the Danube to Romania, while the hypothesis of the projection in Bucharest after Istanbul is based on the new possibility of fast travel to Bucharest with the Orient Express train.
Keywords: film projection, Lumière Brothers, Thomas A. Edison, early cinema, film pioneers.
CRISTIAN VASILE
Locul SCIA în peisajul editorial reprezentat de revistele Academiei Române în anii
1950–1960
Abstract
Each scientific journal of the research institutes of the postwar Soviet-type Romanian Academy has its own history. Various scholars tried to draft their histories more or less accurately either through sketches or case studies. There are few approaches that have attempted to compare the postwar editorial experiences of these publications. I focused my analysis only on social sciences, arts and humanities’ journals. My article tries to fill this gap and includes in the analysis journals such as SCIA, Studii (Studii. Revistă de istorie), Studii şi Cercetări Lingvistice, Studii şi Cercetări de Istorie Literară şi Folclor, Cercetări filozofice, Probleme economice, Studii şi Cercetări Juridice, Revista de psihologie etc. This presentation focused on analogies and differences related especially to the moment of journal’s publication, content, marked more or less by ideological message, editorial board, and academic profile. Speaking about the particular case of SCIA, one can notice a certain type of themes (the study of art and religious architecture, for instance) which was a privileged one in the main journal of the Institute of Art History. From this point of view, the content of the publication was in blatant contrast, for example, with the periodical of the Institute of Philosophy, Cercetări filozofice (littered with ideological texts, excessively politicized). This profile of SCIA and the non-conformity of the studies in relation to the dominant ideology, showed mainly in the case of Medieval Art Section articles, were factors that triggered the involvement of the ideological bodies and political police probably to a greater extent than in the case of other scientific publications and academic institutes. The presentation also tried to provide an explanation in relation to the relatively large distance in time from the moment of the founding of an institute and its endowment with its own academic journal.
Keywords: SCIA, scientific journals, Romanian Academy, Cercetări filozofice (Philosophical research), George Oprescu, Studii.
IOANA APOSTOL
Control științific, îndrumare ideologică și cenzură în publicaţiile Institutului de Istoria Artei (anii 1950–1960)
Abstract
Scientific Control, Ideological Guidance, and Censorship in the Publications of the Institute of Art History (1950s–1960s). From the late 1940s, following the establishment of the communist regime in Romania, scientific research, including art history, came under strict control and ideological supervision. These measures were centrally planned and closely monitored by the state institutions. This paper examines editorial practices in communist Romania, with a focus on the Institute of Art History in Bucharest, its periodical Studii şi Cercetări de Istoria Artei (SCIA), and the output of the Department of Modern and Contemporary Art. The analysis is situated within the broader context of ideological constraints and their enforcement mechanisms, which operated through three closely interlinked processes: scientific control, ideological guidance, and censorship.
Keywords: Romanian Art Historiography, Romanian Academy, Communism, Editorial Practices, Ideological Supervision, Censorship, G. Oprescu, Tudor Vianu, Radu Bogdan.
RAMONA CARAMELEA
Discursuri și direcții tematice. Arta și arhitectura populară în revistele Studii și Cercetări de Istoria Artei (1954–1964)
Abstract
The study analyses the articles on folk art and architecture published in the journal Studii și Cercetări de Istoria Artei, in the first decade of its existence, from the perspective of the themes, discourses and methodology used. Reflecting the work of the Folk Art Section, the articles will be scrutinised in the context of the complicated relationship between the cultural policy of the communist state and the field of ethnography/folk art. The instrumentalization of folk art research resulted, among other things, in the control of the scientific output and in pressure on researchers to use historical materialism and to contribute to the development of the communist society. However the recommendations were to be interpreted in a personal manner by the researchers, and the use of dialectical materialism was to be understood differently from the introduction of specific themes and interpretations taken from Marxist-Leninist literature, which transcended the field of ethnography and found their way into disciplines such as history, art history and archaeology, to 'classical' discursive mechanisms such as quotations from propaganda literature. In several cases, the studies sidestep the ideology, opting for a descriptive, almost technical ethnographic approach.
Keywords: Folk art and architecture, ethnography, communism, research methods, Studii și Cercetări de Istoria Artei.
LUCIAN SINIGAGLIA
Ion Cazaban și tainele scenografiei
Abstract
The study sheds light on some significant information on the concern that seems to have been evoked closest to the soul of the researcher Ion Cazaban. The essence of Ion Cazaban’s contributions to the history of set design is revealed in articles such as L’Espace théâtral dans la conception des scénographes roumains contemporains, respectively La scénographie de Paul Bortnovschi, both appeared in Revue Roumaine d’Histoire de l’Art.
Keywords: Ion Cazaban, set design, Art History Studies and Researches. Theater, Music, Cinematography, Revue Roumaine d’Histoire de l’Art, Ion Sava, Paul Bortnovschi.
EDUARD ANDREI
Arta monumentală românească din anii 1970, reflectată în revista Studii și Cercetări de Istoria Artei. Studiu de caz: simpozioanele de la Medgidia
Abstract
There are relatively few articles on the monumental art in Romania from the 1970s, published in Studii şi Cercetări de Istoria Artei (SCIA), the journal the G. Oprescu Institute of Art History; more precisely, only five articles, signed by the following authors: Ioana (Popovici) Vlasiu (1971 and 1978), Mircea Grozdea (1974), Brigita Gonser (1976), and Gheorghe Vida (1978). Among them, this paper focuses on the article of Brigita Gonser, analyzed as a case study. The article is dedicated to the
phenomenon of the Medgidia art camps from the 1970s, which had a seminal role in the evolution of contemporary Romanian ceramics. The Medgidia camps totaled seven editions, but the article only covers the first five (1971–1975). In order to have an overall picture and to reconstitute the complete history of the phenomenon, I have updated the information with those obtained as a result of the research I undertook together with Rodica Buzoianu and Oana Florică, in 2019, completed by the publication of the volume Revisited Cultural Heritage. Ceramics Symposium Medgidia 1971–1977, including both the last two editions (1976–1977) and the posthumous fate of the works. The Medgidia camps of the 1970s marked the evolution of Romanian ceramics by opening two directions: on the one hand, Romanian ceramics finally overcame its status of small, utilitarian objects intended for domestic decoration and fundamentally shifted towards monumental size, towards dimensions that brought it close to open space sculpture; consequently, on the other hand, it migrated from a private/ interior space into the public/exterior space. The dozens of artworks created during the seven editions, by a number of 42 artists, have decorated various public spaces in Medgidia, mainly the promenade of the Carasu canal, enriching the city with an invaluable artistic heritage, constituted as a real open-air museum. Created under the sign of experiment (technically) and total freedom of expression (stylistically), the artworks somehow “escaped” the watchful eye of the censorship of the time, but not the destruction generated by the resumption of works on the Danube-Black Sea Canal in the years 1979–1980 and an arbitrary policy of decision-makers. Only 12 artworks have survived until today, but in various stages of degradation. In an unfortunate context, this issue is topical again, because of the recent demolition, in February 2024, of Birds (1971), a sculpture by Eugen Pătraș, in Costinești. It is necessary to classify the public space artworks of the contemporary art heritage on the list of monuments, in order to ensure their legal protection against potential destruction.
Keywords: Cultural heritage, Medgidia art camps, monumental ceramics, Romanian monumental art.
OLIVIA NIŢIŞ
Cuvântul ca semn. Turnura lingvistică în arta conceptuală a anilor 1960–1970 în Europa de Est
Abstract
The research refers to the introduction of written language in the conceptual art of various Eastern European artists and the complex approach to art from the linguistic perspective in which the reading of specific texts from art journals as well as individual writings contributed to the deconstruction of art as an object and the redefinition of artistic practice.
Keywords: conceptual art, Eastern European art, linguistics, post-modernism.
LUIGI BAMBULEA
Încercare de iconografie intelectuală. Efigia Răzvan Theodorescu
Abstract
The present work is fundamentally an homage. Its initial purpose was to pay tribute to and honor the figure of a prestigious Romanian intellectual, a renowned specialist in several fields within the disciplinary cluster of History. We refer to the historian, professor, and academician Răzvan Theodorescu. At this stage, the work has evolved into a comprehensive recapitulation of his personality, his intellectual and social biography, as well as the corpus of his work. So, the reader is confronted with a study in intellectual history, historiography, and the history of ideas. Simultaneously, this paper aims to serve as an act of “impersonal piety” and objective gratitude. The author creates an intellectual and temperamental portrait of Theodorescu, examining all his contributions to the history of art, cultural history, the history of mentalities, the history of ideas, and geopolitics. The study emphasizes his acts of anti-totalitarian dissent during the communist era and suggests a carefully established measure for his entire public career. Particular attention is given to concepts and theories of prime importance, which the author analyzes in their theoretical articulations and in their relationship with the historiography that inspired or shaped R. Theodorescu’s conception: the transactional mentality (which is characteristic of the Romanian people), the historiographic value of foundational architectural monuments, the interplay of text and image in cultural history, the cultural corridors through which ideas and artistic styles disseminate, the first Romanian Modernity, the art of Brancoveanu’s age, and the two Europes.
Keywords: historiography, history of ideas, totalitarianism, intellectual, Romanian Academy; transactionism, “monumenta principes”, Early Modernity, cultural corridor, Brancovan art, Europeanness.
MIHAI FULGER,
Contribuții ale istoricului de film Bujor T. Rîpeanu în publicaţiile Institutului de Istoria Artei
Abstract
The article reviews the 21 articles published, between 1964 and 1980, by an influential historian of Romanian film, Bujor T. Rîpeanu (1938–2024), in two of the academic journals edited by the Institute of Art History (Studii și Cercetări de Istoria Artei. Teatru, Muzică, Cinematografie and Revue Roumaine d’Histoire de l’Art. Théâtre, Musique, Cinéma), focusing on the most important studies and highlighting the original contributions of the author.
Keywords: Romanian cinema, Romanian film history, early cinema, documentary film, Bujor T. Rîpeanu.
Expoziţia Traian Bilţiu Dâncuș: Culorile Maramureșului, Art Safari, Palatul Dacia România, 27 octombrie 2023 – 14 ianuarie 2024 (Ramona Caramelea), p. 263
Expoziţia Back Stages, Aurora Király, Sophie Thun și Irène Codreano ((†), curatoare Mirela Baciak, ARAC, București, 27.10.2023 – 13.01.2024 (Olivia Nițiș), p. 267
Conferinţa internaţională Romanian Photography. Local perspectives and European trends, second edition / Fotografia românească. Perspective locale și tendinţe europene, ediţia a doua, Biblioteca Naţională a României, sala Mircea Eliade, București, 3 iulie 2024 (Ioana Apostol, Ramona Caramelea), p. 269
Expoziţia Romulus Ladea, București, Muzeul Național de Artă al României, 4 octombrie 2023 – 4 februarie 2024. Curator Judith Balint (Corina Teacă), p. 275
Expoziţia Alfred Jacob Miller: Revisiting the Rendezvous – In Scotland and Today, Buffalo Bill Center of the West, Cody, Wyoming, 20 mai – 22 octombrie 2023 (Adrian-Silvan Ionescu), p. 279
Expoziţia Partea nevăzută a colecţiei Liana și Dan Nasta – obiecte de cult și laice, Muzeul Colecţiilor de Artă, 8 noiembrie 2023 – 17 martie 2024 (Adrian-Silvan Ionescu), p. 288
Expoziţia Ȋn jurul atacului de la Smârdan. Pictori ai Războiului de Independenţă în colecţia MNIR, Muzeul Naţional de Istorie, București, august 2023 – februarie 2024 (Olivia Niţiș), p. 297
Expoziţia Helnvein, Realität und Fiktion, Albertina, Viena, 25 octombrie 2023 – 11 februarie 2024 (Adrian-Silvan Ionescu), p. 300
Expoziţia Christus-Bilder in den Evangelischen Kirchen Siebenbürgens. Imaginea lui Hristos în bisericile evanghelice din Transilvania. Expoziție și catalog de Heidrun König, Sibiu, 16 mai – 30 octombrie 2024 (Aurelian Stroe), p. 306
Conferinţa Cutreierând Vestul american. Ȋn căutarea eroilor, Jockey Club, București, 6 martie 2024 (Aurelian Stroe), p. 308
Expoziţia REMIX ID – Voices of Freedom, Renée Renard, Galeria Eindorf Kunstraum, Viena, 24 – 30 iunie 024 (Olivia Niţiș), p. 313
Expoziţia Bogdan Iorga – „Reenactment”, Muzeul Judeţean Gorj „Alexandru Ştefulescu”, Târgu Jiu, 28 martie – 28 aprilie 2024 (Adrian-Silvan Ionescu), p. 315
Expoziţia Şerbana Drăgoescu, Joc pentru semeni, București, Muzeul Colecţiilor de Artă, 8 iunie – 1 nov. 2024 (Raluca Partenie), p. 321
Premianţii noştri, Academia Română, 7 decembrie 2023, p. 323
Un premiu binemeritat, 23 mai 2024, p. 325
O mare onoare pentru institutul nostru, Kiev, 4 iulie 2024, p. 327
EUGEN MAROLA, Bucureștiul sub ameninţarea Puterilor Centrale, 6 decembrie 1916 – 11 noiembrie 1918. Viaţă cotidiană. Vedere dintr o capitală multiculturală, Ed. Vremea, Bucureşti, 2023 (Adrian-Silvan Ionescu), p. 329
DE LIBRIS
Buletin bibliografic (V.B., A.S.I., I.A.)
