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Few historic, stylistic and technical guide marks of some romanian artists’s presence in the XIXth century in Italy

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Excerpt The evolution of the Romanian art in XIXth century determined and it is still raising many questions. Reporting the fine art to the general effort of modernizing the Romanian society, the emergence and the evolution of the new artistic techniques, the awareness of the status of independent artist and the configuration of the artist-citizen profile as well as the sinuosity of the effort to synchronize with the Occidental art, all represent as many lines of investigation as the results of which novelty might be at least anticipated. In accordance with the language characteristics and the historic, social and cultural reality of that time, the study of the beginnings, the evolution, the moments of glory and even of fall of the painting, sculpture, lithography, engraving and etching in the three Romanian Principalities must follow on the compared analysis of those interferential paragraphs constituted by the synchronizing and obvious correspondence with the great conquests, lines and certitudes of the European art – Italian, French, German or Austrian. Within the artistic atmosphere of Rome, where he arrived in 1808, Gheorghe Asachi (1788-1866) understood the efficiency of the lithography as an artistic technique with valances of cheap multiplication of the image and appreciated the importance of working “in the nature”, just like we can see from his notes written on the drawings made in Italy during this period or later. Among the first generation of Romanian artists, students at the Mihaileana Academy, Gheorghe Lemeni (1815-1848) and Gheorghe Năstăseanu (cca. 1812- 1964), sent to Rome with a scholarship, focused their attention also on practising painting and lithography. Alexandru Asachi (1820-1875 or 1876) certainly was in Italy before 1845, the year during which a request to extent the passport signed by his father is kept in the State Archive in Iaşi. In Italy, it is possible that he might have met also Gheorghe Lemeni, who was in Rome since 1842. Some biographers of the painter Constantin Lecca artist claim that he stopped in Rome, between 1829 and 1830, before settling in Craiova. In June 1844, Lecca left for sure to Rome, where he stayed almost a year until June 1845, when he returned home and started to sign his paintings and lithographs “Lecca”, doubling the consonant “c”. Representative of the Biedermeier portrait, just like Constantin Lecca, Petre Mateescu (1825-?), whose life and work are less known, studied painting at Royal Academy of Fine Arts in Florence, where he tried “first of all to paint the portrait with pencils and aquarelles”. The painter Gheorghe M Tăttărescu (1818-1894), nephew and pupil of a church painter familiarized with the traditional canons of the Byzantine Erminy, arrives in Rome in 1845, with a scholarship granted by the church authorities of that time and with the support of a high dignitary. Tăttărescu illustrates a moment of glory of the academic art in Romania, a moment of optimism and trust in the resources of the Romanian painting school, which was passing an obvious stage of synchronizing with the European academism also thanks to the assimilation of the academic norms of the school from Rome and to the discovery of the Renaissance in the important museums of Italy. After the graduating the Evangelic School from Braşov, Carol Storck (1854-1926), the oldest son of the sculptor Karl Storck, attended, starting from 1871, the classes of the Royal Academy of Art from Florence, at the sculpture course taught Augusto Rivalta (1837-1925), known as the representative of the academism of realist-naturist tradition. The brief presentation of several Romanian painters, sculptors, drawers or lithographers for whom Italy meant a new horizon of creation has the main goal to underline the XIXth century Italian school of art contributions to the evolution of the modern Romanian art.
Paginaţia 185-200
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Titlul volumului de apariție
  • Muzeul Naţional; XIX; anul 2007