Radu

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

As a princely seat Bucharest was once, for the Romanian authorities, a citadel watched over by God just like Byzantium was for the Eastern Christian world. Then, naturally, it was also the place where scholars needed by the Prince's Chancellery made their studies. They

A few years ago, among the most brilliant students of our University was a young man named Coriolan Drăgănescu. He was the possessor of a brisk intelligence, a character of bronze, and the temperament of a hero; besides, nature had endowed him with an oratory talent impossible

Women artists (originally women-painters) became a reality in Romanian culture only by the turn of the 20th century. Barely having an artistic tradition of the western kind (that is, academic), the national cultural milieu in the 19th century was rather deprived of a professionally

At the same time, the great Russian also remarked that woman is always what we want to make of her. Femininity triggers off creative energies. Through it, the Author dominates the epic matter, and this helps him complete his plan, plot, work. Femininity delays the end by

 Mioriţa, the most popular Romanian ballad, has its name coming from a rather ambiguous female character, the meek ewe that discloses the plot to her fair master, whose two fellow shepherds plan to kill by the time of sunset, looting his larger and worthy flock. Mioriţa

From The Procrustean Bed Add to these criteria of a physical nature the old preconceived idea of talent. As is known, talent is discovered thus: a boy or a girl, choking with stage fright, before a long table at which a commission are sitting, start declaiming Gens Latina

from A Concert of Bach's Music The Amzei Church had donned a festive appearance. People had started coming as early as three o'clock, and by four – the time of the ceremony – the street was crowded with carriages and automobiles. An archbishop was serving.

I saw an ad in newspapers about a trip to the mountains and I got in without knowing anybody. About 30 of us crowded in a big race vehicle, so boys and girls, parcels, cigarette smoke, and jokes mixed up together at random. A certain Biţă was speaking in my ear untiringly.

from Requiem for Fools and Beasts That day, Estera did not come to the stadium, but the following two evenings she was there again; however, I did not pluck up enough courage to speak to her, and after overtaking me several times, she kept running about three hundred meters

excerpts First of all I have to recall that moment of my life which was the origin of the incidents that I will evoke in these confessions. It was the instant – so dramatic to me – when I first saw Alba. But right in that moment, which twisted so many years that were