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    1. 喬治·斯特凡內斯丘2658110,713267331220140888后印象派,表現主義藝術家喬治斯特凡內斯庫(George Stefanescu)專題網站http://img05.img.mei-shu.net/Uploads/sjmh/george-stefanescu/george-stefanescu-ramnic(2)_xtsg4sbo4sz.jpg

      喬治斯特凡內斯庫(George Stefanescu)

      喬治斯特凡內斯庫(George Stefanescu)

      藝術家: 喬治斯特凡內斯庫

      生于: 1914年4月20日;pl?ine?ti(dumbr?veni),羅馬尼亞

      卒于: 2007年10月29日;德國

      國籍: 羅馬尼亞

      流派: 后印象派,表現主義

      領域: 繪畫,繪畫,圖像

       

      喬治tefnescu-R&mnic&的父親Gheorghe,一個商人,出身于一個起源于塞爾維亞比托拉的馬其頓家庭。tefnescu這個名字最初是屬于藝術家的曾祖父,斯科普里的牧師Stefan的。

      Painter的命運是在他在R& mn.Srat上學期間形成的;然后,在1933年和前線動員期間,他從Ion Theodo.大師那里得到了建議。錫恩,Lucian Grigorescu,尤其是尼古拉迪爾斯庫非常重要。后者是調色板藝術大師,能夠顯示一整套冷熱花卉的顏色,使喬治·奧特菲涅斯庫熟悉了耐心地通過恢復觸摸而獲得的多色性的秘密,卻絲毫沒有失去圖像的光澤。20世紀中葉的地震使涅斯庫轉向了具有實用潛力的塑料表達:壁畫和裝飾,廣告圖形,海報,尤其是風景畫。他的戲劇創作(1958-1974)使他的視力重新適應了強烈的色彩,因為十多年來,克里米亞戰爭中遭受的創傷損害了他的視力。隨后,為d&cors制作的圖形畫素描的合成、超具暗示性的方式培養了他對詩歌相似比喻作品的興趣,這些作品的民俗方法用來隱藏宗教主題——參見《吟游詩人》或《傳單》系列,該系列在af中恢復。ter 1990年在自由世界,遠離正統縱容的當地操縱,在最少的干預之后被變成了魔法師和十字架。

      在阿德里亞娜·博布1987年在子午線出版社出版的專著中。豪斯(布加勒斯特,羅馬尼亞),藝術家是接近的關鍵,一個浮躁,和諧馴服表現主義。沒有任何炫耀,畫家從現實中捕捉到一個延伸的圓錐形的借口刺激,實現了一個造型風格化的拱形和疊瓦的形狀,類似于搪瓷組成。1990年的畫布就是一個極好的例子:一群熱帶色彩濃郁的鳥兒在旋轉,形成一種精致的、誠實的比喻動態。tefnescu-R&mnic比任何風景畫家都更想像拋物線編織的人物(冥想主題、小丑、民俗、舞蹈),在抒情抽象領域掌握的字母中升華。另一方面,他的靜物畫或地名風景畫也為不同家族的成熟細微差別和輪廓阿拉伯畫提供了豐富的借口?!端{色的秘密》是1983油畫作品上的油畫標題。但也許甚至舊Balkan地毯的紅色代表畫家心中的真正的主題。在最近的系列作品中,藝術家以某種程度上受挫的抽象象征手法,以寬松的翹曲背景來玷污輪廓線,同時在感官上困擾著繪畫的琺瑯深度。在二戰期間出生的人,在第二次世界大戰中受了重傷,但仍在聯合歐洲的制定中。這位長壽的藝術家是20世紀中葉青年婦女悲哀這一命運滋養下的一個杰出的例子。(Aurelia Mocanu)

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      Artist :George Stefanescu

      Additional Name :George ?tef?nescu-Ramnic

      Born : Pl?ine?ti (Dumbr?veni), Romania

      Died : Germany

      Nationality :Romanian

      Art Movement :Post-Impressionism,Expressionism

      Field :painting,drawing,graphics

      George ?tef?nescu-R&#226;mnic&#39;s father, Gheorghe, a merchant, descended from a Macedonian family originating from Serbian Bitola. The name ?tef?nescu first belonged to artist’s great-grandfather, priest Stefan from Skopje.

      Painter’s destiny was forged during his school-years spent at R&#226;mnicul S?rat; then, between 1933 and his mobilization on the front, the advice he received from masters Ion Theodorescu-Sion, Lucian Grigorescu and especially Nicolae D?r?scu mattered a lot. The latter, a palette virtuoso able to display a whole scale of hot-and-cold floral colours, made George ?tef?nescu 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 ?tef?nescu 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 d&#233;cors 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, ?tef?nescu-R&#226;mnic 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
      喬治·斯特凡內斯丘

      喬治·斯特凡內斯丘

      George Stefanescu(1914-2007)
      后印象派,表現主義藝術家喬治斯特凡內斯庫(George Stefanescu)專題網站

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