A. M. Maciuca
Friday 9 November 2018 by Libadmin2018


A broad approach to essential theoretical issues, the multilateral examination of the defining aspects of the national specificity and the stylistic system that they express are an imperative for our aestheticians and art critics. The profound originality of our culture, the outstanding artistic sensitivity of the Romanian people, the exceptional achievements both in folkloric and cultural arts, developed within the same stylistic coordinates, must be studied with insistence and depth, the result of research being an energetic stimulus for contemporary creation, directing it to the safe way of authentic creation that makes each artist an interpreter of the spirituality of the people.
In the work of these demiurgs of beauty, the society discovers, quintessentially and transfigured, its spiritual profile and noble goals. No matter how distinct these personalities are, grouped in currents or artistic movements located at a glance at the opposite poles, they ultimately remain in solidarity with their age and society, and a careful examination reveals their definite affinities with the artistic and stylistic vision. Appearing on different meridians, raised from extremely diverse social environments, decimating specific realities, these personalities melt into the great patrimony of universality the ethical and aesthetic values of the peoples they represent.
Because the problem of artistic originality is extremely complex, I am restraining myself to the limited scope of these lines, to a few aspects of the relationship between the artist’s vision and the national specific background from which it springs and draws attention to the secrets of the connection between the creator’s style and the stylistic elements defining a national culture, circumscribing the observations in the field of plastic arts. This is necessary because despite the fact that in our culture and, implicitly, in the field of plastic arts, the national specific is more and more comprehensively reflected in memorable works, specialized research is still shy of these problems which, in the current context, requires multilateralism and bold research.
The vision of people is not immutable. Being historically constituted, it is subjected to a dialectic process of enrichment and purification of some conjunctural aspects. In the last quarter of the nineteenth century and the begining of the twentieth century, the conception of life of the Romanian people was enriched with new attributes that derive from the general characteristics of our cultural and artistic life. Cultural and artistic tradition has gained new accents and greater depth.
In the light of these considerations, it is possible to establish firm affinities not only between the works of painters Nicolae Grigorescu, Ștefan Dimitrescu and Dumitru Ghiaţă - painters of the village by excellence - but also those of Ștefan Luchian, Ion Andreescu and Lucian Grigorescu. We dare to say that Luchian’s vision is more organically attached to folklore than that of Nicholas Grigorescu, and Lucian Grigorescu, so far from the outer realities of the village, is a genuine exponent of the plastic sensibility of our people.

Keywords: National style, cultural arts, folklore, Romanian artists, originality

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