乔治·斯特凡内斯丘2658110,713267331223263388后印象派,表现主义艺术家乔治斯特凡内斯库(George Stefanescu)专题网站http://img05.img.mei-shu.net/Uploads/sjmh/george-stefanescu/george-stefanescu-ramnic(2)_xtsg4sbo4sz.jpg

乔治斯特凡内斯库(George Stefanescu)

乔治斯特凡内斯库(George Stefanescu)

艺术家: 乔治斯特凡内斯库

生于: 1914年4月20日;plăineşti(dumbrăveni),罗马尼亚

卒于: 2007年10月29日;德国

国籍: 罗马尼亚

流派: 后印象派,表现主义

领域: 绘画,绘画,图像

 

乔治tefnescu-R&mnic&的父亲Gheorghe,一个商人,出身于一个起源于塞尔维亚比托拉的马其顿家庭。tefnescu这个名字最初是属于艺术家的曾祖父,斯科普里的牧师Stefan的。

Painter的命运是在他在R& mn.Srat上学期间形成的;然后,在1933年和前线动员期间,他从Ion Theodo.大师那里得到了建议。锡恩,Lucian Grigorescu,尤其是尼古拉迪尔斯库非常重要。后者是调色板艺术大师,能够显示一整套冷热花卉的颜色,使乔治·奥特菲涅斯库熟悉了耐心地通过恢复触摸而获得的多色性的秘密,却丝毫没有失去图像的光泽。20世纪中叶的地震使涅斯库转向了具有实用潜力的塑料表达:壁画和装饰,广告图形,海报,尤其是风景画。他的戏剧创作(1958-1974)使他的视力重新适应了强烈的色彩,因为十多年来,克里米亚战争中遭受的创伤损害了他的视力。随后,为d&cors制作的图形画素描的合成、超具暗示性的方式培养了他对诗歌相似比喻作品的兴趣,这些作品的民俗方法用来隐藏宗教主题——参见《吟游诗人》或《传单》系列,该系列在af中恢复。ter 1990年在自由世界,远离正统纵容的当地操纵,在最少的干预之后被变成了魔法师和十字架。

在阿德里亚娜·博布1987年在子午线出版社出版的专著中。豪斯(布加勒斯特,罗马尼亚),艺术家是接近的关键,一个浮躁,和谐驯服表现主义。没有任何炫耀,画家从现实中捕捉到一个延伸的圆锥形的借口刺激,实现了一个造型风格化的拱形和叠瓦的形状,类似于搪瓷组成。1990年的画布就是一个极好的例子:一群热带色彩浓郁的鸟儿在旋转,形成一种精致的、诚实的比喻动态。tefnescu-R&mnic比任何风景画家都更想像抛物线编织的人物(冥想主题、小丑、民俗、舞蹈),在抒情抽象领域掌握的字母中升华。另一方面,他的静物画或地名风景画也为不同家族的成熟细微差别和轮廓阿拉伯画提供了丰富的借口。《蓝色的秘密》是1983油画作品上的油画标题。但也许甚至旧Balkan地毯的红色代表画家心中的真正的主题。在最近的系列作品中,艺术家以某种程度上受挫的抽象象征手法,以宽松的翘曲背景来玷污轮廓线,同时在感官上困扰着绘画的珐琅深度。在二战期间出生的人,在第二次世界大战中受了重伤,但仍在联合欧洲的制定中。这位长寿的艺术家是20世纪中叶青年妇女悲哀这一命运滋养下的一个杰出的例子。(Aurelia Mocanu)

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Artist :George Stefanescu

Additional Name :George Ștefănescu-Râmnic

Born : Plăineşti (Dumbrăveni), Romania

Died : Germany

Nationality :Romanian

Art Movement :Post-Impressionism,Expressionism

Field :painting,drawing,graphics

George Ştefănescu-Râmnic's father, Gheorghe, a merchant, descended from a Macedonian family originating from Serbian Bitola. The name Ştefănescu first belonged to artist’s great-grandfather, priest Stefan from Skopje.

Painter’s destiny was forged during his school-years spent at Râmnicul Sărat; then, between 1933 and his mobilization on the front, the advice he received from masters Ion Theodorescu-Sion, Lucian Grigorescu and especially Nicolae Dărăscu mattered a lot. The latter, a palette virtuoso able to display a whole scale of hot-and-cold floral colours, made George Ştefănescu familiar with the secret of polychromy acquired patiently, by touch resuming, yet losing nothing of image luminosity.

The seisms of the mid 20th-century history directed Ştefănescu towards plastic expressions with practical potentials: mural painting and decoration, advertising graphics, poster and especially scenography. His creation dedicated to theatre (1958–1974) re-adapted his sight to strong colours, as, for more than one decade, his perception had been harmed by the traumas endured in the Crimean campaign. Subsequently, the synthetic, ultra-suggestive manner of the graphic-pictorial sketches made for décors trained his interest for the poetic simili-figurative compositions whose folkloric approach used to conceal religious subjects – see the series of Minstrels or Flyers, which, resumed after 1990 in the free world, far from the local manoeuvres of the orthodox connivances, were turned into The Magi and Crucifixions after minimal interventions.

In Adriana Bobu’s monograph issued in 1987 at Meridiane Publ. House (Bucharest, Romania), the artist is approached in the key of a fauve, harmonically tamed expressionism. Without any ostentation, the painter captures from reality an extended cone of pretext stimuli, achieving a figuration stylized in arched-and-imbricated shapes resembling enamel compositions. An excellent example could be the canvas made in 1990: a whirl of tropical, strongly coloured birds developing an elaborate honest-figurative dynamics. More than any landscapist, Ştefănescu-Râmnic imagines parabolic-woven figures (meditative themes, harlequins, folk customs, dances), sublimated in graphemes mastered in the realm of lyrical abstraction. On the other hand, his still-lifes or toponymic landscapes are abundant of pretexts for different families of ripen nuances and contour arabesques.

Secret of Blue is the title of the oil on canvas he achieved in 1983. But maybe even the red colour of old Balkan carpet stands for the sthenic leitmotif the painter had in mind. In the more recent series, showing a somehow thwarted abstract symbolism, the artist honours shape contours with a loosened-up warp background, while troubling sensually into the enamel depth of the painting.

Painter’s figure, seems meditative and concentrated in the remarkable self-portraits of the man born during the Great War, seriously wounded in the Second World War, yet surviving United Europe enactment. The longeval artist is a wonderful example of seigniorial senescence nourished by a destiny able to defeat evil times, that Sadness of Young Women from the middle of the 20th century. (Aurelia Mocanu)

19142007George Stefanescu124,126S
乔治·斯特凡内斯丘

乔治·斯特凡内斯丘

George Stefanescu(1914-2007)
后印象派,表现主义艺术家乔治斯特凡内斯库(George Stefanescu)专题网站

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