ADRIAN-SILVAN IONESCU
Ferdinanzii: monarhii României şi Bulgariei în caricatura bucureşteană a Marelui Război
Abstract
During neutrality, as well as during the armed conflict in which they became opponents in the Great War, the sovereigns of the two neighboring countries, Romania and Bulgaria have been the target of the irony of the humorous magazines and a rewarding subject for the cartoonists who served them. In Bucharest, at that time, there were published three humorous magazines such as: Furnica (The Ant), Veselia (The Joy) and Mojicul (The Cad), while the newspaper Adevărul (The Truth) almost every day included a cartoon in its pages.
At Furnica, a periodical led by George Ranetti and N.D. Țăranu, the cartoonists who constantly contributed with their smart drawings were Ary Murnu and Francisc Şirato; at Veselia, under C. Cosco's leadership, the main illustrator was San-George, who was joined by others like Sandy and Dprx who signed under pseudonyms in order not to be revealed their identity and not to be sued for press offences. Mojicul which was under the editorship of a few journalists who used pen names such as Archibald (G. Rădulescu), Ion Gorun (Al. I. Hodoș), Maximin (G. Millian-Maximin) and Mefisto (M.S. Faust-Mohr), the artistic contributors were Gilly (Anghel Gh. Pomescu), Hugo Square, Aurel Petrescu and, the most brilliant of all, N. Petrescu-Găină. While being in Jassy, as a refugee during the years 1917-1918, Ranetti, together with Petre Locusteanu, published a new humorous magazine entitled Greerul (The Cricket) as a natural continuation of the disappeared Furnica. They had B'Arg (Ion Barbulescu) as main cartoonist during that period. In Adevărul, a humorous drawing was published quite often on the front page under the generic The Matter of the Day, whose authors were either Iosif Iser or Alex Marin.
Masters of the satirical drawing, the collaborators to the specialized magazines in Bucharest, made a humorous iconography of great value and interest on the participation of the two countries and their rulers in the Great War.
Keywords: Cartoons, King Ferdinand of Romania, Tzar Ferdinand of Bulgaria, Kaiser Wilhelm II, World War I.
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IOANA VLASIU
Colecţii şi colecţionism în Clujul interbelic
Résumé
Après la Première Guerre Mondiale et l’Union de la Transylvanie avec la Roumanie, la ville de Cluj a connu un essor de la vie artistique entre autres grâce à la fondation de l’Ecole de beaux-arts en 1925 et à la donation d’une importante collection d’art roumain à l’Université, la donation Virgil Cioflec, devenue d’accès publique. L’apparition des institutions artistiques, l’accroissement du nombre d’expositions, un nouveau prestige de l’art ont contribué aussi au développement du collectionnisme, soutenu surtout par des représentants des professions liberales – médecins, avocats, intellectuels, avec des possibilités financières modestes, mais avec beaucoup d’enthousiasme.
L’étude presente le profil de quelques collectionneurs de Cluj, la plupart des médecins – Coriolan Tătaru, Victor Papilian, Miklos Elekes – le psychologue Nicolae Mărgineanu, dont l’intérêt pour l’art moderne a contribué au changement du goût artistique et a aidé nombre de jeunes artistes parmi lesquels Catul Bogdan, Sandor Szolnay, Romul Ladea, Nagy Istvan, Anastase Demian, Ion Vlasiu, Jenő Szervatiusz, Nicolae Brana,Tasso Marchini, Eugen Gâscă, Traian Bilțiu Dăncuș de s’affirmer ou de consolider une réputation déjà acquise.
Mots-clés : collections privées, Cluj-Napoca, Victor Papilian, Miklos Elekes, Nagy Istvan, Ion Vlasiu.
ILEANA PINTILIE
Direcţii artistice multiculturale ale Banatului interbelic
Abstract
Interwar Banat was a multicultural space which brought together German, Romanian and Hungarian artists educated at European art academies after an almost identical professional development: a degree in Budapest, Vienna, Munich, later Paris or Rome. Coming back to Banat, these artists got stylistically involved either in a modernism with classical touches, sometimes on the fringe of symbolism or Nabism, or in postimpressionism, or even in the German expressionism embraced through the Hungarian mediation. These artists gave a peculiar touch to art in Banat, with a local specificity which makes it stand apart even from Transylvania.
Keywords: academism; expressionism, modernism with classical touches; postimpressionism.
TUDOR STAVILĂ
Portrete în timp ale avangardei basarabene (I)
Résumé
Les derniers temps, en Europe et en Russie sont apparus plusieurs monographies et catalogues qui illustrent les expositions consacrées à l’avant-garde de la période de l’entre-deux-guerres. En Roumanie, les problèmes de l’art de l’avant-garde, sous divers aspects, ont été étudiés par Ioana Vlasiu, Erwin Kessler, Magda Cârneci, Catalina Macovei, Ion Mădălina Lascu, Ion Pop et d’autres chercheurs.
L’article porte sur l’art de l’avant-garde bessarabienne. Bien sûr, dans cet art on ne peut pas trouver de noms tels que Marcel Iancu, Victor Brauner, Max Hermann Maxy, Jules Perahim ou Arthur Segal mais certains aspects périphériques de l’art de l’avantgarde européenne peuvent être identifiés dans la création d’Auguste Baillayre, d’Ana Asvadurova-Ciucurenco, de Tania Șeptelici-Samoilă, mais aussi dans l’oeuvre des Bessarabiens qui ont émigré en France et en Allemagne – y compris dans les peintures de Gregoire Michonze, d’Antoine Irisse ou dans les sculptures de Moissey Kogan.
Keywords: Bessarabia, Romania, interwar period, Bucharest, France, Germany, vanguard.
IOANA APOSTOL
G. Oprescu în captivitatea Puterilor Centrale, de la Turnu Severin la Golemo-Konare şi înapoi (1916–1918)
Abstract
The First World War was a trying time for G. Oprescu, art historian and founder of the Romanian Institute of Art History. In 1917, while he was working as a French teacher and head of the “Traian” high-school in the town of Turnu Severin, south-west of Romania, he became victim of the military conflict as a civilian internee of the Central Powers. For 18 months he was deprived of his freedom and held in places of detention and internment camps in Romania and Bulgaria. His captivity began after he was arrested in February 1917 along with other professors and local community leaders. He was held in a cell-like room at the “Traian” Hotel in Turnu Severin and then interned at the Tismana Monastery and the Military Circle in Bucharest, the headquarters of the German’s Hauptwache. In September 1917, along with his Turnu Severin group of internees, he was deported to Bulgaria. After a gruelling journey in freight wagons and on foot, Oprescu was interned at Philippopolis/Plovdiv and then, from March 1918, in an improvised camp nearby, Golemo-Konare. Bulgaria's internment camps left deep traumas on the minds and bodies of the prisoners, all of them recounting in unison of the hunger, cold, illness and abusive treatment they endured. In the summer of 1918, after a year of and a half of captivity, the Romanian civilians, including G. Oprescu, were repatriated and released. The article uses as sources a fragment of G. Oprescu’s unpublished memoirs written in 1968 and the official statements of his fellow internees gave to the Romanian authorities after their repatriation in 1918.
Keywords: G. Oprescu, The First World War, civilian internees, Romania, Bulgaria, Turnu Severin, Tismana Monastery, Philippopolis, Plovdiv, Golemo-Konare.
EDUARD ANDREI
Costin Petrescu la New York: în slujba patriei şi a artei (I)
Abstract
This article focuses on an yet unknown chapter of the life and work of the Romanian painter Costin Petrescu (1872–1954); based on unpublished documents from Romanian and American archives, very little, or not at all researched by specialists, it analyses the time spent by the Romanian painter in the U.S. He traveled to New York (November 1919 – March 1920), on the official mission of supervising the printing of the new Romanian paper currency, designed by himself, at the American Bank Note Company. After the 1918 Union, monetary unification became a priority of the new Romanian Government. Thus, the article casts a new light on the importance of this process, with its political implications and symbolic intricacies. During his stay in New York, Costin Petrescu met a number of outstanding personalities of the Romanian diaspora of the time, such as the professor, writer and journalist Leon Feraru, as well as remarkable members of the New York intellectual and art scene, among which the poet Edwin Markham and the writer and art connoisseur Jeanne Robert Foster, whose portraits he painted, or William Henry Fox, then Director of the Brooklyn Museum, with whom he planned an ample exhibition of Romanian art in the U.S. The article offers unpublished data and analysis useful for a better understanding of the modern Romanian identity, of Romania’s image in the U.S., as well as of the immediate aftermath of the 1918 Union.
Keywords: The American Bank Note Company, The National Bank of Romania, Our Star and The New Rumania, The Varsity, Romanian modern art and identity.
ELISABETA NEGRĂU
Menologul de la Cozia. Iconografie şi inscripţii
Abstract
The study accompanying the corpus of inscriptions analyses of the Cozia painted menology (c. 1391) analyses the possible sources of the selection of the saints. We suggest that the synaxarial source for the paintings at Cozia was not Bulgarian or Serbian, but Constantinopolitan. The manuscript Paris. Coislin gr. 223, a menology of Constantinopolitan tradition composed in 1301 for the use of Mount Athos' protos, seems to be the closest to the selection of the saints at Cozia. However, the inscriptions of Cozia contain some Bulgarian particularities, such as the use of L´v´ for Leon and the indication of St. Martyr Julian of Tars as clergyman, which could be due to a Balkan origin of the painters. The study also refutes a previous attempt to date the Cozia narthex paintings on the basis of the presence in its menology of the feast of the Fathers of Christ, the mobile celebration of the Sunday before Nativity. Since the feast is illustrated at Cozia on the same date, December 16, as in the Synaxary of Constantinople, and not on 17, the date the Sunday fell on in the year 1391, we conclude that its presence at Cozia is probably the result of an influence of the Constantinopolitan rite.
Keywords: Byzantine menologia, Constantinople menology tradition, Cozia Monastery paintings, Inscriptions, Late Byzantine painting, Serbian menologia.
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