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Director, Museum of Art Collections A magic and impartial destiny decided that, at the celebration of a century since the materialization of the idea of art collection and art collector, the reopening of a Palace of Collections should take place. An initiative, disputed

It was in May 1972, when I paid my first visit to the Weinbergs. I still have a warm dedication from the host as testimony. I was coming from the Museums Review to record a few thoughts about the Weinberg collection, the foundations of which had been laid in the tumultuous

After six years' work in the Sanitary Technical School I was admitted to the History of Art Institute. I was a researcher and I wasn't yet allowed to research the monuments of our medieval art I was so attracted to. Going through the pages of the history magazines

An interior made for appearance, fitting the extravagance of some poems In the beginning, gazing at the photos, I stood in the doorway and had the feeling of entering a house deserted by its owners, where I was left with the secret of its nature hidden inside the still

In 1951, the 'Slătineanu Collection' opened at No 3, Obedenaru Street. After crossing a garden bordered by big mosaic slabs, one reaches the building hosting the Collection. Two 18th century ewers warn the visitors that they will find numerous ceramic pieces indoors.

1947. The year of the most despotic deeds of the communist regime come to power in the shadow of the Soviet tanks. The ordeal of the Romanian intellectual elites (and not only) begins. The Slătineanu family find themselves treated like common criminals. The whole family

Member of the Academy Barbu Slătineanu was one of those people that draw your attention at first sight. The first time I met him was by chance: I was a doctor and I went to see his brother-in-law, Playno, who lived in the same house on Obedenaru street. Ever since, I considered

The chance passers-by through the quiet Cotroceni neighbourhood could discover, at the end of a well tended garden, a two-storey house with no other adornment than its iron-wrought latticework. What was strange was that leaning against the wall separating it from the house

Temptation One is tempted by what one sees, and seeing is the basic experience in cyberspace. One perceives the wondrous site, the desirable realm, but also the density of the transparent space that comes in-between – a psychological double of the transparent obstacle

Imprimé et pouvoir. France, Russie, Principautés Roumaines (XVIe–XIXe siècles)- Actes du colloque international Bucarest, New Europe College, le 10 juin 2002. Coordonator: Radu Păun

Ciprian Vălcan - La concurrence des influences culturelles françaises et allemandes dans l'oeuvre de Cioran

Fotografii: Mihail Cratofil Traducere în limba engleză: Samuel Onn Traducere în limba ucraineană: Alexandrina Cernov, Ilie Luceac Traducere în limba germană: Mariana Koch Albumul conţine o scurtă introducere în care este prezentată istoria de şase sute de