14 Dec 2020

TEL AVIV. Retrospectivă George Freiberg - exuberanță cromatică și forță compozițională

Expoziția postumă de pictură a artistului George Freiberg (n. 1928, România – d. 2017, Israel) va fi găzduită de ICR Tel Aviv în perioada 14 decembrie 2020 - 18 ianuarie 2021. Retrospectiva George Freiberg conține o serie de 23 de tablouri de diferite dimensiuni,

3 Sep 2019

Expoziţia de pictură «Another side/another view» a artistului vizual Luminiţa Gliga, la Veneţia

Expoziţia de pictură «Another side/another view» semnată de pictorița Luminița Gliga aduce în atenția publicului o serie de lucrări recente, compoziții în fața cărora privitorul devine martor la transformarea naturii şi a peisajului citadin într-un „peisaj

The 20th Century - The Century Of Avant-Garde

The year 1900. Europe's countries are divided on the question: does the 20th century begin in 1900 or in 1901? Some opt for 1900, by virtue of the change in the figure of the hundreds. Others are partisans of 1901, for reasons of more sophisticated arithmetic. Particular

B. Fundoianu / Benjamin Fondane (1898-1944)

B. Fundoianu began to publish persistently and regularly in 1918, when he was twenty; with the determination that characterized him, he embarked upon a tireless mission that took all the attributes of a vocation: that of a messenger of French – hence European – culture

The Music Look

Alexandru Ţipoia (1914, Snagov, Romania – 1993, Geneva, Switzerland) is a rather less known painter even in Romania. This basically because of his pertaining to a limited category of artists whose career started in the most troubled years of World War II. Moreover, he

Inner Nature

Corneliu MICHAILESCU (Bucharest, 1887-Bucharest, 1965) is one of the less known Romanian avant-garde artists, with a particular although somehow exemplar creative itinerary. Despite his relatively long life and apparently static development, he is one of the rare Romanian

The Weed Talk

I have never met Ştefan Bertalan. A founder of the sigma group in Timishoara, the most influential hub of constructivist experimentalism in Romanian art, Bertalan has always seemed to me somehow ill-timed, included in the canon, and confined therein. I came once into contact