Procesul artistic in Republica Moldova: (1940-2000) : arta, grafica, sculptura = Fine arts in the Republic of Moldova: 1940-2000 : easel painting, sculpture, drawing
Gespeichert in:
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| Format: | Buch |
| Sprache: | Romanian |
| Veröffentlicht: |
Chişinău
Muzeul Naţional de Artă al Moldovei
2018
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| Schlagworte: | |
| Online-Zugang: | Inhaltsverzeichnis Abstract Literaturverzeichnis |
| Beschreibung: | 247 Seiten Illustrationen |
| ISBN: | 9789975129503 |
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Datensatz im Suchindex
| _version_ | 1804180535710318592 |
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| adam_text | CUPRINS INTRODUCERE................................................................................................................................. 6 CAPITOLUL I. ANI DE ÎNCERCĂRI............................................................................................. 8 1.1. „Povara trecutului” (1940-1947)..................................................................................... 9 1.2. în condiţiile intensificării presiunii ideologice (1948-1954)...................................... 23 CAPITOLUL II. LUPTA PENTRU LIBERTATE ÎN CREAŢIE...................................................44 ILL începutul „dezgheţului” (1955-1958)............................................................................44 11.2. Formarea tendinţelor noi (1959-1964)....................................................................... 53 CAPITOLUL III. ORIGINALITATEA ARTEI LA MIJLOCUL ŞI SFÂRŞITUL ANILOR ’60............................................................................................................. 72 CAPITOLUL IV. CĂUTĂRI ARTISTICE ŞI REALIZĂRI DIN ANII ’70 ֊ PRIMA JUMĂTATE A ANILOR J80...............................................................................................96 CAPITOLUL V. REÎNNOIREA VIEŢII ARTISTICE ÎN A DOUA JUMĂTATE A ANILOR ’80.................................................................................... 140 CAPITOLUL VI. TRADIŢII ŞI INOVAŢII ÎN ARTA ANILOR ’90.........................................156
ÎNCHEIERE...................................................................................................................................... 185 LISTA ILUSTRAŢIILOR ÎN TEXT................................................................................................188 REPRODUCERI............................................................................................................................... 195 LISTA REPRODUCERILOR.......................................................................................................... 231 LIST OF REPRODUCTIONS........................................................................................................233 SUMMARY........................................................................................................................................236 BIBLIOGRAFIE SELECTIVĂ...................................................................................................... 239 5
FINE ARTS IN THE REPUBLIC OF MOLDOVA: 1940-2000 Easel Painting, Sculpture, Drawing Moldavian fine arts have gone through a difficult and contradictory process of development dur ing the XXth century. Historical environment was not always conducive to creativity, but even under challenging circumstances talented artists managed to produce a fascinating body of works. Crucial for their artistic trajectory were interactions with European cultural traditions and also with the in digenous legacy rooted in the depth of centuries. The decade following WWII was perhaps the most difficult because of overt ideological pres sures, as artists were compelled to glorify the ongoing social and political transformations in the republic. Art was to embrace the method of Socialist Realism which, in addition to its propagan da component, prescribed representational “realistic” style within a transparent narrative frame work. Many artists opted for chamber motifs and historical themes. Artists of the older generation, such as M. Gambourd, D. Sevastyanov, A. Baranovich, E. Gambourd, K. Kobizeva, L. Dubinovsky, I. Keptenaru, continued to employ expressive means of the pre-Soviet period, although this was branded as “relics of the past” and “dangerous formalism”. The so-called period of Thaw in the mid-1950s brought about liberalization and the atmosphere of hope. Many artists began to focus on contemporary life shown through a markedly romantic prism. For more discerning artists topical ideological issues took second place to aesthetic concerns. They strove for perfection in the originality
of their compositions, plastic integrity and stylistic accomplishments. The tendency to broad generalizations in the early 1960s introduced changes both in style and the overall artistic paradigm. While preserving the main principles of the realistic tradition with its interest in the essence of life and emotional sincerity works of this period often acquired the signifi cance of a symbol embodying eternal moral values. Even the campaign organized by ideological crit ics against unorthodox plastic ideas could not undermine the spirit of experimentation characteristic of this epoch as changes in artistic consciousness became irreversible. Artists exploring rustic motifs displayed interest in folk art, be it in its traditional manifestations or in the work of naïve painters. There was also a tendency towards overcoming boundaries of estab lished easel genres. Thus, ethnic stylizations led some sculptors into the area of decorative sculpture. Geometrical forms, rhythmic silhouettes, ornamental details and the potential for spatial organiza tion allowed to place such sculpture into architectural and park environment. Aspiration for laconic expression in the field of drawing made popular linocuts that were suitable for large-sized prints. The most interesting results were achieved in painting. Developing discoveries of the early XXth century modernism, some painters sought to demonstrate the conventionality of artistic images by using textured paints or by creating equal tension of all the zones of the canvas’s space. Sometimes they made accent on sectors without paint,
revealing material structure of canvas and, most impor tantly, they highlighted the aesthetic beauty of the art work as an object. This approach turned out most productive in combination with folk influences, especially when the artist displayed an organic feeling of the folk tradition and a sense of personal spiritual involvement in it. The high level of such synthesis was obtained by M. Greku in his triptych The Story of One Life in which well-organized 236
orchestration of colors and generalized silhouette motivate the spectator for associative perception of images. The idea of eternal value of the original folk art is revealed in Thirst by V. Russu-Ciobanu, Pearls by A. Zevin, Ion’s Luck by I. Vieru, Mioritsa by E. Bontya. The identity of Moldovan art during the 1960s is often associated with its decorative expressiveness, but this external attribute is by no means decisive. Much more important here is the overall figurative system: metaphorical, poetical and sublime. In the history of the Soviet Union, the 1970s and early 1980s are usually described as the period of Stagnation, however this label is a misnomer in the area of arts that were following a trajectory of their own. While there were no alternative group exhibitions in Moldova, a number of talented art ists operating within the official or semi-official framework ascertained their creative independence. What comes to the forefront is an increased complexity in the perception of the world and the desire to venture into unexplored aspects of being. Thus M. Grecu’s improvisations with non-traditional materials evoke the primal intimacy of energy forces of Great Nature. Their laconic and yet deeply metaphysical poetics turn the art object into a conduit and witness to profound spiritual experiences. Compositions of V. Rusu-Ciobanu are also quite striking as they combine conventionality and the sensation of the world’s illusory nature. Her portraits reveal the depths of their subjects’ inner life. I. Vieru, alongside lyrical and epical works, created some symbolic
images conveying the feeling of deep existential pain. Many artists of the older generation (A. Baranovich, E. Romanesku, M. Petrik, G. Sainchuk, O. Orlova, Yu. Shibaev) experienced a gradual evolution resulting in a more harmonic perception of the world. As to the younger generation (S. Kuchiuk, P. Jireghya, L. Tsoncheva, S. Gal ben, D. Peichev, G. Shoitu, V. Bachchevan, M. Keptenaru), they were looking for their own style, studying cultural traditions and trusting their intuitions. Some painters became attracted to avantgarde currents in the art of the early XXth century (G. Dmitriev, A. Syrbu, M. Tserush, S. Sadovnikov, N. Gutsu, I. Tsypina). Sculptors experimented with the spatial organization of figurai compositions, often in mixed genres, in smaller plastic forms or at an intersection of sculpture and decorative arts. Thus, L. Dubinovsky with his metaphorical images and A. Pikunova with her abstract forms rely on spectator’s associative perception. The tendency towards tense expression manifests itself in the compositions by V. Rotaru, I. Beldyi, N. Vlasova, as well as in the portraits by G. Dubrovina, Yu. Kanashin, M. Gambourd. Yu. Horovsky, with his highly creative use of the material, manages to realize ideas that are not easily embodied in sculpture. Most suitable for thematic exhibitions were drawings, be it narrative works by L. Grigorashenko and I. Taburtsa or more abstract and symbolic images by V. Koreakin, S. Solonari, N. Koreakina. Warmth and emotional sincerity marks the motifs of rural life by V. Kuzmenko, D. Savaştın, the landscapes by E. Kildesku,
portraits by B. Poliakov and A. Colybniac. Landscapes by G. Vrabie re flected the rapidly changing face of Kishinev, the capital of Moldova, shown in a broader spatial context. In the early 1980s interesting new contributions were made by a younger generation of art ists including G. Bosenko, V. Melnik, N. Danilenko, E. Caftan (Zavtur), I. Liberman, M. Shevelkin, R. Kutsjuba, V. Movilyanu. Changes in the social climate after 1985, during Gorbachev Perestroika, brought about fermenta tion of creative forces and a tendency towards intensified artistic expression. The main trends of the period - plastic, avant-garde and symbolic - often diverged but also intertwined. Each current had 237
its own achievements alongside superficial stylizations and imitations. Most importantly, the interest in genuine cultural values remained intact during this tumultuous time. The process of cultural revival in the republic that became independent in 1991 is characterized by the previously unseen intensity and complexity. There has been a great number of individual and group exhibitions, and relations with foreign countries have become more extensive. Two distinct vectors are at work in the area of fine arts: while the centrifugal one gravitates to modern innovations, the centripetal force is associated with reliance on the cultural heritage and development of national traditions. At times these trends are opposed to each other, but there are also instances of multifac eted and productive interactions. Exhibitions have been dominated by painting works. Artists like M. Statný, V. Cobzac, Yu. Pla ton, G. Jalbe, T. Zbirnya, M. Jomir, V. Dochotaru, S. Beyu, V. Gutsu, N. Bykir, E. Ajder engage, at a new level, traditional folk motifs. Others - among them M. Tserush and V. Kuzmenko - are more concerned with crystallization of aesthetic concepts. Semantically complicated are canvases by A. Mudrya, P. Gutsu, V. Moshanu, M. Mardare-Fusu, D. Aioglu, S. Fusu, V. Bakitsky, V. Sandu. Tra jectory from figurative to abstract painting is found in A. Syrbu, D. Bolbochyanu, A. Rurak, V. Afanasiu, I. Cojocaru, M. Miryanu, L. Mudrák. Such artists as Yu. Nastas, Yu. Matei and M. Verlan gravi tate to surrealism. In the mid-1990s, with the support of the Soros Centre for Contemporary Art in
the Republic of Moldova, contemporary art in its extreme manifestations appeared on the local scene. However, the majority of artists, with all their stylistic and conceptual diversity, adhere to such tenets of realism as interest in the typical manifestations of life and sincerity in the expression of feelings. Easel graphics, once a mainstream genre, has become a sphere of elitist creativity. M. Brunea, S. Zamsha, A. Antosiak, E. Karachentseva, V. Zabulika often use color in their works marked by complex semantics and refined technique. Many artists - among them I. Sfecla, V. Palamarchiuk, N. Shibaeva, I. Moram, A. Makovei and some others - work in watercolor, transforming ordinary life motifs into a parallel reality where well-known objects are placed into unusual spatial contexts. Sculptors have faced special challenges because of the lack of state orders and increased price of the materials. However, their creative search has been stimulated by participation in international symposiums and exhibitions. Works by D. Verdianu, I. Zderchuk, D. Aioglu, I. Greku, M. Damian, G. Sultan, I. Bolokan are characterized by capacity to translate abstract concepts in their own unique way. In addition to the monolithic forms, there is a special kind of expression, including continuous spatial volumes in the works by S. Ganenko and M. Pushkash, ripped silhouettes in sculptures by V. Vyrtosu and G. Poštovanu, or entertaining narratives in sculptures by V. Kantor and V. Shevchenko. With all the innovations, interest in the national cultural heritage remains strong and produc tive. Thus,
the future of Moldovan fine arts depends not only on the desire to integrate into the mod ern artistic process in Europe, but also on creative interpretation of national traditions. 238
BIBLIOGRAFIE SELECTIVĂ Ada Zevin [în rom., rusă] (album) / Aut.-alcăt. L. Toma. Chişinău, 2003. Alexandru Macovei / Art. introd. I. Hadârcă. Chişinău, 1997. Ala Rusu. Catalog [în fran., rom., rusă], / Art. introd. M. German. Cluj-Napoca, 2004. Andrei Mudrea: Pictură / Art. introd. T. Stavilă. Chişinău, 1998. Andrei Negură [în engi., rom.] (album) Iaşi, 2001. Andrei Sârbu: Pictură = Andrei Sârbu: Painting / Art. introd. T. Zbârnea; T. Braga. Chişinău, 2010. Antoniuc I. Mihail Burea [în rom., rusă], Chişinău, 1983. Arta plastică din RSS Moldovenească = Изобразительное искусство Молдавской ССР [în rom. rusă] (album) / Aut.-alcăt. К. Rodnin. Moscova, 1971. Arta maeştrilor basarabeni din secolul XX. Chişinău, 2016. Arta RSS Moldoveneşti = Искусство Молдавской ССР - The Art of Soviet Moldavia [in engi., rom. rusă] / Aut.-alcăt. M. Livşiţ. Leningrad, 1972. Baraşcov E. Sergiu Cuciuc. Pictură [în rom., rusă], Chişinău, 1989. Barbas E. Creaţia lui Andrei Sârbu în contextul artei contemporane // ARTA-97. Chişinău, 1997. Barbas E. în căutarea adevărului şi frumosului (despre creaţia piet. I. Ţâpin) // Columna, 1991, nr. 6. Barbas E. Sete de echilibru şi unitate // Sud-Est, 1991, որ. 1. Barbas E. Reverberaţii moderne-postmoderne în arta basarabeană // Atelier, 1998, որ. 1-2. Barbas E. Realitatea de dincolo de aparenţe H Atelier, 1998, որ. 3-4. Barbas E. Tradiţii şi inovaţii în pictura de gen moldovenească // ARTA-2001. Chişinău, 2001. Bienala Internaţională Gravură, Ediţia II. 2011. Chişinău, 2011. Bienala Internaţională Gravură, Ediţia III. 2013 / Art. introd. T. Stavilă. Chişinău,
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Брунгилъда Эпельбаум-Марченко. Скульптура / Авт.-сост. Д. Гольцов. Москва, 1986. Республиканская картинная галерея им. А. В. Лосева / Вст. ст. - Н. Егорова. Бендеры, 2011. Русская ветвь изобразительного древа Молдовы. Каталог-справочник / Сост. С. Сулин. СанктПетербург, 2013. Сапего И. Предмет и
форма. Москва, 1984. Светлов И. О советской скульптуре 1960-1980. Очерки. Москва, 1984. Свободомыслия очаг. Всесоюзный семинар искусствоведов в Паланге 1970-1991. Москва, 2013. Скульптура Молдавской ССР (альбом). Кишинев, 1963. Стефан Садовников: я - городской сумасшедший. Живопись = Stefan
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| geographic_facet | Moldawien |
| id | DE-604.BV046174848 |
| illustrated | Illustrated |
| indexdate | 2024-07-10T08:37:19Z |
| institution | BVB |
| isbn | 9789975129503 |
| language | Romanian |
| oai_aleph_id | oai:aleph.bib-bvb.de:BVB01-031554511 |
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| physical | 247 Seiten Illustrationen |
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| publisher | Muzeul Naţional de Artă al Moldovei |
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| spelling | Toma, Ludmila 1939- Verfasser (DE-588)136298931 aut Procesul artistic in Republica Moldova (1940-2000) : arta, grafica, sculptura = Fine arts in the Republic of Moldova: 1940-2000 : easel painting, sculpture, drawing Ludmila Toma Fine arts in the Republic of Moldova: 1940-2000 Chişinău Muzeul Naţional de Artă al Moldovei 2018 247 Seiten Illustrationen txt rdacontent n rdamedia nc rdacarrier Zusammenfassung auf Englisch Geschichte 1940-2000 gnd rswk-swf Plastik (DE-588)4046277-8 gnd rswk-swf Kunst (DE-588)4114333-4 gnd rswk-swf Malerei (DE-588)4037220-0 gnd rswk-swf Grafik (DE-588)4021845-4 gnd rswk-swf Moldawien (DE-588)4039967-9 gnd rswk-swf Moldawien (DE-588)4039967-9 g Kunst (DE-588)4114333-4 s Malerei (DE-588)4037220-0 s Plastik (DE-588)4046277-8 s Grafik (DE-588)4021845-4 s Geschichte 1940-2000 z DE-604 Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031554511&sequence=000001&line_number=0001&func_code=DB_RECORDS&service_type=MEDIA Inhaltsverzeichnis Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031554511&sequence=000003&line_number=0002&func_code=DB_RECORDS&service_type=MEDIA Abstract Digitalisierung BSB München 19 - ADAM Catalogue Enrichment application/pdf http://bvbr.bib-bvb.de:8991/F?func=service&doc_library=BVB01&local_base=BVB01&doc_number=031554511&sequence=000005&line_number=0003&func_code=DB_RECORDS&service_type=MEDIA Literaturverzeichnis |
| spellingShingle | Toma, Ludmila 1939- Procesul artistic in Republica Moldova (1940-2000) : arta, grafica, sculptura = Fine arts in the Republic of Moldova: 1940-2000 : easel painting, sculpture, drawing Plastik (DE-588)4046277-8 gnd Kunst (DE-588)4114333-4 gnd Malerei (DE-588)4037220-0 gnd Grafik (DE-588)4021845-4 gnd |
| subject_GND | (DE-588)4046277-8 (DE-588)4114333-4 (DE-588)4037220-0 (DE-588)4021845-4 (DE-588)4039967-9 |
| title | Procesul artistic in Republica Moldova (1940-2000) : arta, grafica, sculptura = Fine arts in the Republic of Moldova: 1940-2000 : easel painting, sculpture, drawing |
| title_alt | Fine arts in the Republic of Moldova: 1940-2000 |
| title_auth | Procesul artistic in Republica Moldova (1940-2000) : arta, grafica, sculptura = Fine arts in the Republic of Moldova: 1940-2000 : easel painting, sculpture, drawing |
| title_exact_search | Procesul artistic in Republica Moldova (1940-2000) : arta, grafica, sculptura = Fine arts in the Republic of Moldova: 1940-2000 : easel painting, sculpture, drawing |
| title_full | Procesul artistic in Republica Moldova (1940-2000) : arta, grafica, sculptura = Fine arts in the Republic of Moldova: 1940-2000 : easel painting, sculpture, drawing Ludmila Toma |
| title_fullStr | Procesul artistic in Republica Moldova (1940-2000) : arta, grafica, sculptura = Fine arts in the Republic of Moldova: 1940-2000 : easel painting, sculpture, drawing Ludmila Toma |
| title_full_unstemmed | Procesul artistic in Republica Moldova (1940-2000) : arta, grafica, sculptura = Fine arts in the Republic of Moldova: 1940-2000 : easel painting, sculpture, drawing Ludmila Toma |
| title_short | Procesul artistic in Republica Moldova |
| title_sort | procesul artistic in republica moldova 1940 2000 arta grafica sculptura fine arts in the republic of moldova 1940 2000 easel painting sculpture drawing |
| title_sub | (1940-2000) : arta, grafica, sculptura = Fine arts in the Republic of Moldova: 1940-2000 : easel painting, sculpture, drawing |
| topic | Plastik (DE-588)4046277-8 gnd Kunst (DE-588)4114333-4 gnd Malerei (DE-588)4037220-0 gnd Grafik (DE-588)4021845-4 gnd |
| topic_facet | Plastik Kunst Malerei Grafik Moldawien |
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