Sculptor

Excerpts The oldest findings prove the presence of Armenians on the present territory of Romania, more precisely in Moldavia, in an inscription on a tombstone in Cetatea Alba, dated 967 AD. The Hungarian chroniclers Simon Kesay and Thuroczi recorded that, under Duke Geza

Paul Neagu's Century Cross was set up at Charles de Gaulle Plaza (the former TelevisionPlaza), Bucharest, in September 1997, as a memento of the 1989 anti-Communist riots. It is a six meter wide lenticular bronze disk with a large cross pattern on both faces made up

excerpts From Winter to Summer Two seasons, rather than four, by all means. Late fall, with powerful stags calling. After the horse races in Moldavia and the first fires in the remotest houses of Bukovina, winter comes. The only flowers left are those in the carpet wool

excerpts In the first half of the XVIIth century, there appeared a new combination of imported styles which has been characterized as the first Wallachian manifestation. The prototype of this style is the village church of Gherghiţa in Prahova county. A later example of

Director It was March 29, 1832 when the commissar of the Red District of Bucharest replied to Postelnic (Minister of Foreign Affairs) Costache Grigore Suţu with an approval to resume the works on the surrounding wall of the garden You have begun to raise. Symbolically

Simplicity is not an end in art, but one arrives at simplicity in spite of oneself, in approaching the real sense of things. Simplicity is at bottom complexity and one must be nourished on its essence to understand its significance. Catalog of Brâncuşi exhibition, Brummer

For the sparkling sculptor of modern art, music represented a secret passion. It was only after the master's death that his close friends, V. G. Paleolog and Marcel Mihalovici revealed to the world the place the art of sounds took in the atmosphere of the mysterious

The Chimera, a sculpture carved in oak wood between 1915 and 1917-18, currently exhibited at the Philadelphia Museum of Art, has so far attracted but limited exegesis. Petru Comarnescu, in a conference held in Craiova in 1957, made reference to the body streamlined as to

In a holographic note drawn up in Romanian in the third person, Brâncuşi speaks about himself as about someone else and makes an important remark in connection with his relationship with materials. Turned down in 1910, he exhibited fully carved stone and marble for the

You have turned the antic into the modern, Rousseau le Douannier once told Brâncuşi. Those words complete very accurately the characterization suggested by Dan Hāulicā: He produced the century's purest classicism out of the exotic. [1] The Romanian sculptor

We think too often that a museum is a repository where you discard all sorts of objects. Arts, history, natural sciences, technology, curiosities. You place exhibits from all these domains into bright and spacious halls; you range them nicely one next to the other and sometimes

The threshold between the millenniums is an opportunity for evaluation: tributes, jubilees, festivals. Archives are being browsed, masterpieces are reappraised, and writings are redefined in the current context, then recirculated in today's competition. Everything becomes