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PICUTRAI C U T R ACONSILIUL J UDE ULUI GALA IONSILIUL J UDE ULUI GALA I
DIRECIA JUDEEAN ENTRU CULTUR, CULTE I PATRIMONIU CULTURAL NAIONALIRECIA JUDEEAN EN TRU CULTUR, CULTE I PATRIMONIU CULTURAL NAIONAL
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PICUTRA
MUZEUL DE ART VIZUAL GALA IU Z EU L D E A R T V I Z U A L G A L A I
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Prezenta selecie ofer publicului larg informaia de care are nevoie pentru a cunoate patrimoniul deinut de Muzeul de Art Vizual.ntr-o lume tot mai lipsit de repere, sau cu repere care se dovedesc a fi, cu timpul efemere, semnul artei capt din ce n ce mai mult firescul
su loc, de NECESAR.Necesitatea ntocmirii unui catalog al coleciilor ce definesc Muzeul de Art Vizual rmne mereu actual, dac instituia dorete sa reziste
ca unitate de memorie cultural ce conserv, expune, educ, include n circuitul valorilor, prin modaliti diverse, vizualul artistic ca soluie a
concretizrii idealului.De-a lungul timpului au existat permanent sperane, dorine, proiecte n acest sens. Mai multe publicaii au scos n eviden secvene
remarcabile din activitatea instituiei, mai ales n ceea ce privete valorificarea tiinific i informaional a prestaiei expoziionale. Dar, ceea censeamn muzeul ca amprent patrimonial a fost relevat prima dat n secvena cultural a sfritului de secol XX, prin catalogul editat n 1988.
Un proiect pentru realizarea altui tip de prezentare a Muzeului de Art Vizual n ansamblul lui a demarat n 2002, prin strduina doamnei
Mariana Coco (director 2001 - 2003). Acest proiect a primit finanare din partea autoritii locale, Consiliului Judeean Galai i Ministerul Culturii
i Cultelor prin Direcia Judeean pentru Cultur, Culte, Patrimoniu Cultural Naional Galai. Astfel, odat asigurat susinerea economic,
lucrurile preau simpleUn patrimoniu fabulos, un colectiv tiinific i tehnic cu o experien un profesionalism i o druire real, s-au dovedit argumente serioase n
demersul alctuirii unui album clasic al Muzeului de Art Vizual, n ntregul su.De fapt, n fiecare participant la derularea acestui proiect exist contiina faptului c n Galai, mai mult dect oriunde , absurdul s-a
transformat, de-a lungul istoriei locului, n art. C muzeul acesta a contribuit la mblnzirea realitii sub semnul artei, la fel cum metalul s-atransfigurat pe drumul dinspre combinat nspre Faleza Dunrii
Toat echipa dorea mai mult.Exista permanena ideilor lui Vasile Onu, mentor spiritual al muzeului (1964 - 1967), privind organizarea plasticii n zona instituional.Exist amintirea cuvintelor lui Nicolae Itu (director 1967 - 1990): muzeul prin caracterul su deschis, i aduce contribuia la stimularea
creaiei plastice actuale, la decantarea valorilor, prin confruntarea ntre generaii, tendine i inovaii.Exista ideea Muzeului de Art Vizual aa cum a fost gndit el n 1991, de ctre ion Simion Mrculescu, (director al muzeului 1990 - 2001) :
ca extindere a gamei de cercetare, documentare i prezentare, dincolo de ramurile tradiionale ale artelor plastice la ramurile care compun
creaia n imagine specific civilizaiei contemporane.Toate aceste nceputuri obligau la amplificarea proiectului. Aa s-a ajuns la soluia prezentrii muzeului n fascicole, cu posibilitatea
Addenda et Corrigenda n segmente distincte, dar cu att mai pertinente pentru public.Prima secven este cea de fa, dedicat picturii. Va urma grafica, sculptura, arta decorativ, arta eclesial, ilustraia de carte, afiul,
secvenele experimentale, design-ul, scenografia, ambientul urban i, n esen, tot ceea ce nseamn VIZUAL i intr n sfera de cuprindere a
acestei instituii de cultur. Muzeul de Art Vizual propune aadar o variant nou de prezentare a patrimoniului su, deschis, modular,
capabil s integreze oricnd valorile romneti unei perspective universale.Dan Basarab Nanu
Director.
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bucuretene, aici avea s se realizeze primaIstoria MUZEULUI DE ART VIZUAL din
performance, s se fac experimente, s fie un locGalai s-a scris n ultimii patruzeci de ani. Este un n care artitii puteau expune tot ce se afla valoros
n atelierele lor, fr implicaii ideologice.timp scurt, dar n cazul lui putem vorbi dentrebarea cum a fost posibil, pare fireasc.
performane. ansa Muzeului de Art ContemporanMica pinacotec devine n 1967, MUZEU DE Romneasc din Galai este consecina statutului
ART MODERN I CONTEMPORAN. Nu tiu su iniial. O instituie implantat unei realitiexact ce au gndit iniiatorii despre viitorul
artificial create, o instituie a momentului, ninstituiei, ns ea trebuia integrat n noua istorie a consecin, o instituie sigur pentru autoriti. Deoraului cu cel mai mare combinat siderurgic, o asemenea, pentru acei ani, distana pentruaglomerare urban de tip nou, cu instituii capital era un avantaj.adecvate. Am putea spune cum c muzeul a fost, chiar
Cu siguran aa cum a fost gndit, dac muzeul nu i-a propus-o, una dintre instituiilecaracterul muzeului era construit pe baze subversive ale statului comunist. El i-a respectatartificiale. Aici urmau s fie aduse lucrri cu o statutul, dar a rspuns realitii unui fenomen, nutematic ce susinea un tip de via cultural cerinelor ideologice.demn de cel mai mare centru muncitoresc al rii. Dup 1990, MUZEUL DE ART
Aa cum de multe ori se ntmpl lucrurile iau CONTEMPORAN DIN GALA I devine MUZEULo ntorstur radical. Tinerii muzeografi
DE ART VIZUAL. O istorie nou se scrie, darrepartizai la noul muzeu fac, ca n decurs de civa ansa de a fi unic n viitor a disprut prinani aceasta s devin o instituie organic, cu un deschiderea Muzeului de Art Contemporan dincaracter bine definit, s joace un rol important n Bucureti.istoria plasticii romneti din urmtorii douzeci de ns istoria l oblig n a-i pstra statutul suani. particular. O instituie tnr trebuie s dea ans
Muzeul se structureaz din mers, astfel nct, tinerilor artiti. Muzeul de Art Vizual Galai a n 1973, titulatura sa se schimb, devenind fcut-o n ultimii ani. Dac-i va pstra scopul de aM U Z EU D E AR T C ON T EM POR AN realiza prima expoziie, de a face primele achiziiiROMNEASC o modificare nu doar n acte, ci de ale tinerilor plasticieni absolveni ai Academiilorsubstan, ale crei consecine autoritile nu o de Art, el i va putea menine statutul su,puteau bnui. Putem vorbi despre un nou tip de
caracterul avangardist pe care l-a avut n toi acetiactivitate muzeal ce se dezvolt aici, o nou ani.atitudine n raportul instituie artist, o atmosfer Destinul l oblig s mizeze nc o dat pe oneobinuit pentru acei ani. O prim schimbare a formul nou, neexperimentat, dar, cu siguran,fost legtura direct cu artitii, cu atelierele, o pentru viitor cu rezultate remarcabile.activitate expoziional efervescent, care a adus Maria Magdalena Crianla Galai nume importante ale artei romneti Critic de art.contemporane. Aici se vor expune multe dintrelucrrile ce nu puteau ajunge la simezele
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MUZEUL DE ARTA VIZUALA GALATI PRIMUL pretiozitatilor cromatice, adnci, senzoriale,
MUZEU DE ARTA CONTEMPORANA vibrante.
ROMNEASCA Taranci din Saliste si Taranci din
Dobrogea de Stefan Dimitrescu (1886 - 1933),
Inaugurat n anul 1967, n vechiul Palat lucrate n anii 20, sunt apreciate pentru forta
Episcopal, Muzeul de Arta Vizuala din Galati, este caracterelor umane portretizate cu mijloace proprii
primul muzeu de arta contemporana romneasca spatiului sau plastic, ritmat de planurile cromatice.
si a fost conceput astfelnct sa prezinte cele mai Nicolae Tonitza (1886 - 1940), membru al
noi tendinte ale fenomenului plastic, destinatie pe Grupului celor 4, ca St. Dimitrescu, este
care si-o pastreazasi astazi. reprezentat printr-un Portret de baiat, lucrare
Aproximativ 400 de lucrari existenten salile sugernd prin expresie si prospetime cromatica
de expunere si n aer liber, n parcul muzeului, universul candorii infantile. Valorificnd experienta
constituie o selectie dintr-un patrimoniu mult mai cezanniana, Iosef Iser subliniazan Balerina si
amplu, completat adesea cu un patrimoniu virtual, Nud plasticitatea volumelor, conferind culorii un
al artistilor contemporani, cultivati cu consecventa rol constructiv.
n cele aproape 4 decenii de existenta. Ceva din experienta cezanniana retine siMuzeul detine si o valoroasa colectie de Nicolae Darascu (1883 - 1959),n lucrarile lui unde
arta moderna romneasca, secolul XIX si XX. Cele domina totusi tehnica postimpresionista, asa cum
cinci peisaje de Nicolae Grigorescu (1838 - 1907) o aratasi cele doua piese din colectia muzeului
din colectia muzeului sunt un reper elocvent al (Santa Maria - venetia si Casa la tara).
virtuozitatii pictorului care a contribuitn secolul al Zonei postimpresionismului i apartine si
XIX-lea la integrarea plasticii romnesti n opera lui Lucian Grigorescu (1894 - 1965), cu
orientarile novatoare ale artei europene din acea naturile moarte opulente, cu peisajele pline de
epoca. atmosfera, lucrate ntr-o inconfundabila armonieLucrarile lui Theodor Pallady (1871 - 1956) de galben orange verde si cu o pensulatie vie,
si Gheorghe Petrascu (1872 - 1949), expuse la alerta (Natura moarta cu pepene galben,
parterul muzeului, exprima universuri diferite: Strada). n compozitiile lui Camil Ressu (1880 -
primul imagineaza o lume a armoniei si 1962) - prestigios profesor al Academiei de Arta
echilibrului, transpusan tonalitati luminoase si din Bucuresti si organizator al vietii noastre
rafinate, iar cel de-al doilea concepe o pictura a artisticen perioada interbelicasi chir dupa aceea
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rigoarea compoziional se mbin cu seam ai micriin Frana. Suita de lucrri Flori
expresivitatea formei i cu observaia realist sufleteti a lui Mattis Teutsch, care particip la
(nmormntare la ar, Peisaj de iarn, La manifestri importante ale expresionismului
semnat). german, este conceput n ritmuri curbe, n
Dintre numele consacrate ale artei moderne tonaliti puternice, dar bine armonizate, artnd
romneti prezente n patrimoniul muzeului, nu-i opiunea clar pentru estetica acestui curent, dar
putem uita pe Jean Al. Steriadi (1880 - 1956), i pentru cea simbolist.
Vasile Popescu (1891 - 1944), tefan Popescu Realizat spre mijlocul secolului XX Jaffa
(1872 - 1948) sau Marius Bunescu (1881 - 1971), demolat de Marcel Iancu unul dintre fondatorii
n opera crora se coreleaz sensibilitatea pentru micrii dadaiste de la Zrich, alturi de Tristan
culoare cu sinteza formei. Tzara pstreaz elemente stilistice care-l
Pictura lui Henri H. Catargi (1894 - 1976) definesc pe autor prin dominanta constructivist a
mbin un raionalism al organizrii spaiale cu compoziiei.
semnificaii simbolistice ale motivelor alese, Lucrrile lui Corneliu Baba (1906 - 1997) i
nrudindu-se spiritual cu arta lui Theodor Pallady. Alexandru Ciucurencu (1903 - 1977), cei doi
Avangarda romneasc, aprutn prima maetri care au format cteva promoii de artitijumtate a secolului XX ca ecou al transformrilor contemp orani, contur nd tendin e bine
petrecuten arta european, dar i ca iniiative ale individualizate n coala romneasc de pictur,
unor personaliti de excepie Victor Brauner sunt prezente n slile de la parter cu lucrri
(1903 - 1966), Marcel Iancu (1895 - 1984), Hans definitorii stilistic. Arta lui Corneliu Baba sondeaz
Mattis Teutsch (1884 - 1960), Corneliu Michilescu tulburtoarele adncimi ale sufletului omenesc,
(1887 - 1965), M.H. Maxy (1895 - 1971), Mili a folosind cu inepuizabil inventivitate procedee
Petracu (1892 - 1976), Irina Codreanu (1896 - tradiionale ale picturii (Clctoreasa, Nud),n
1985), Margareta Sterian (1897 - 1992) este timp ce Alexan dru Ciucurencu valori ficmarcat de orientri cubiste, expresioniste, posibilitile plastice ale culoriin compoziii unde
suprarealiste. Portretul lui Ilarie Voronca de sunt reunite vitalitatea i rafinamentul expresiei
Victor Brauner este reprezentativ pentru acea (Peisaj la Trnovo, Natur moart cu flori).
epoc i pentru perioada de nceput a creaiei Pentru numeroasele personaliti ale
artistului, care s-a orientat ulterior spre picturii romneti din a doua jumtate a secolului
suprarealism, devenind unul dintre exponenii de XX prezente de asemenea n patrimoniul
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Muzeului de Art Vizual primele structurri ale nelegere subtil a naturii i a formei plastice;
concepiei plastice au ca punct de reper lecia lui modelate n volume stilizate ele capt o for
Corneliu Baba (Dan Hatmanu, tefan Clia, Sorin teluric datorit tonalitilor grave, saturate de
Ilfoveanu, Vladimir Zamfirescu, Sorin Dumitrescu, brunuri, ocruri, rouri i accente de violet i datorit
Dimitrie Gavrilean etc.) sau pe cea a lui Alexandru texturii vibrante a pastei cromatice.
Ciucurencu (Constantin Piliu, Traian Brdean, Personaliti ca Nicolae Mantu sau Lola
Aurel Nedel, Vasile Grigore, Marius Cilievici etc.) Schmierer Roth, formate n contextul artei
cristalizat astfel n sinteze ce contribuie la interbelice romneti i apusene, legaten acelai
configuraia complex a artei romneti din timp de viaa cultural a Galaiului, completeazn
aceast perioad. expunere imaginea acestei perioade prima
Din opera lui Ion uculescu (1910 - 1962) jumtate i mijlocul secolului XX n care arta
Muzeul de Art Vizual deine o bogat colecie,n romneasc i-a conturat cu mult vitalitate
special din perioada totemic, a ultimilor ani: Aur identitatea, integrndu-se culturii europene i
i crbune, Duet, Sclipiri, Amintire policrom, configurnd n acelai timp filoanele unei viziuni
Totem albastru, Viziune etc. o mare varietate propriin plastic.
compoziional caracterizeaz aceast lume Cea mainsemnat parte a patrimoniului isemi-abstract, unde tensiunile dramatice sunt a expunerii permanente a muzeului o constituie
transferate din zona narativuluin cea a plasticitii ns creaia romneasc din perioada 1967
pure. 2000, din care vom selecta cteva personaliti i
Formele se ciocnesc, cresc pe suprafa, direcii semnificative.
investite cu elocvena unor personaje stranii, Considerat un element major, specific unei
concentrnd energia unor triri intense, transpuse sensibiliti ndelung modelate n timp, culoarea,
n ardentele acorduri expresioniste i dezvoltnd modul ei de abordare, constituie unul dintre
astfel o bogie a mijloacelor picturale, valorificat mijloacele de mplinire i afirmare ale picturiimai trziun arta romneasc. romneti. Exist adesea, la pictorii romni, o
Printr-o viziune diferit se impun lucrrile lui sintez fireasc ntre acordurile cromatice
Dumitru Ghi (1888 - 1972), dei universul rural, ndrznee i formele avnd ca reper structurile
folcloric este, ca i la uculescu, zona de inspiraie naturale.
a pictorului. Ghi transform legtura afectiv cu Astfel, seria Vegetaiilor lui Ion Pacea (1924 -
locurile natale i cu creaia popular ntr-o 1999), realizaten anii 70, constituie elaborri ale
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unor forme naturale, dar i ale elementelor lipsit de pitoresc, uor stranie,n tonalitinchise
decorative din scoarele populare; concepute n de culoare.
contraste cald rece,nchis deschis, structurile O pictur cu strluciri fove, pstrnd
se desfoar alert pe suprafaa lucrrii. legturi mai mult sau mai puin vizibile cu motivele
Ion Alin Gheorghiu (1929 - 2002), una dintre care au inspirat-o, creeaz Vasile Grigore (n.
cele mai reprezentative personaliti ale artei 1935) n compoziiile sale cu nuduri sau naturi
romneti, este prezent n muzeu cu lucrri din moarte.
ciclul Grdini suspendate. Pictura lui se situeaz Conceptualismul marcheaz creaia unor
la confluena dintre figurativ i abstract; avnd ca artiti cum sunt: Horia Bernea (1938 - 2000), Marin
reper lumea vizibil, el creeaz adevrate Gherasim (n. 1937), Sorin Dumitrescu (n. 1946),
metafore a cror construcie plastic d impresia Gheorghe Anghel (n. 1938).
de cretere exploziv, de expansiune organic Horia Bernea, una dintre cele mai complexe
susinut de dinamismul cromaticii. figuri ale culturii noastre, creator de mare fori
Culoarea capt valene spirituale la Ion rafinament, repunen discuien seria Dealurilor
Nicodim (n. 1932), sau Virgil Almanu (n. 1926)n problema stilului devenit obiect de investigaie, de
compoziiile lor, unde o cromatic decantat, cunoatere a artistului. n ciuda exaltrii senzorialevibrnd pe suprafee mari, configureaz o poetic a imaginii prin tehnic, impresia general este a
a spaiului vast. semnificaiei ce transcede aspectul concret, dnd
Pictura lui Ion Sliteanu (n. 1929) este o o consisten emblematic motivului. n pictura lui
vizualizare a vitalitii, a captrii luminii pe Marin Gherasim , sacrul se dezvluie prin
ntinderea pnzei. Preferina pentru petele de alb intermediul semnelor provenind din ordinea
gri negru, exaltate de accentele intense geometric a unor elemente arhitecturale
cromatic, estensoit de gestualismul pensulaiei medievale sau populare, cu trimitere la o
i de alternanele ntre suprafeele mari i spiritualitate strveche, autohton.aglomerrile de forme tensionate (Arhitectura Compoziiile lui Sorin Dumitrescu sunt
gndului frumos). imagini ce evoc, nu reprezint; ele tinznd s
n acelai context Ilie Boca (n. 1937) se creeze arhetipuri, structuri cu conotaii metafizice
distinge prin picturalitate i raf inamentul (Portic, Hiperconcepie).
acordurilor de brun gri violet,n timp ce Florin
Mitroi (1938 - 2002) imagineaz o lume sever,
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O interferenntre sugestii ale observaiei directe, permanent. Astfel, donaia Georgeta i Constantin
elemente simbolice provenind din culturile antice i Armescu punen valoare opera artistei i a fratelui su,
interpretri abstracte este i opera lui Gheorghe Anghel. sculptorul Constantin Armescu, nscui n Galai i
Picturile lui Octav Grigorescu (1933 - 1987) se stabiliin S.U.A. dup 1948. Georgeta Armescu (1910 -
constituie adesea ca o transpunere poetic a trecerii 1994) se afirmn domeniul artei, realizndn creaia ei o
timpului, prelund efectele unor vechi fresce, cu sintez originalntre tendinele expresionist abstracte,
subiectele lor uor fabuloase, cu preioziti de laviuri i cu i elemente ale tradiiilor romneti medievale i
rafinamentul desenului ce susine imaginea. folclorice.
Impresia de naraiune este proprie i lucrrilor
Georgetei Npru (1930 - 1997), unde interferenele **********************
ntre real i imaginar, ntre istorie i prezent se
amalgameazntr-o textur a suprafeei prelucrat cu Expoziiile temporare romneti i strine, organizate de-
suprapuneri i transparene de past cromatic, amintind a lungul celor 36 de ani de existen, manifestrile cele
de decoraiile ceramice sau de icoanele pe sticl. mai diverse dedicate iubitorilor de art (ghidaje tematice,
Orientrile suprarealiste, se contureaz n lecii de istoria artei, de educaie estetic, concerte,
expunere prin spaiile atemporale, personajele stranii, tabere de creaie, spectacole inspirate din istoriaascetice uneori, sau prin evocri ale fantasticului, costumului etc) fac parte din viaa specific muzeului,
imaginarului, din compoziiile Paulei Ribariu (n. 1938), impr imndu-i un dinamism ce-l integreaz n
Florin Niculiu (1928 - 1997), tefan Clea (n. 1942), contemporaneitate, att din perspectiva prospectrii i
Sorin Ilfoveanu (n. 1946), Liviu Suhar (n. 1943), Ion Gnju valorificrii patrimoniului artei contemporane ct i din
(n. 1942), Vladimir Zamfirescu (n. 1936), Zamfir aceea a relaiilor cu publicul.
Dumitrescu (n. 1946), Semproniu Iclozan (n. 1938).Mariana Tomozei CocoAchiziii mai recente completeaz expunerea
Critic de artpermanent a muzeului cu operele unor creatori afirmain ultimele dou decenii: Ioana Btrnu (n. 1960), Olimpiu
Bandalac (n. 1955), Marilena Preda Sanc (n. 1955),
Florica Prevenda (n. 1959), Valeriu Mladin (n. 1958),
Mircea Tohtan (n. 1957) etc.
Cele mai importante donaii care au mbogit
muzeul sunt marcate n spaiul su de expunere
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Arta plastica romneasca din ultima perioada, umane.
ma refer la ultimii 100 de ani de creatie n pictura, Din momentul n care, mai mult sau mai putin
sculptura si arta decorativa, se caracterizeaza printr- constient, artistul a simtit n lucrarile sale puterea si
o tendinta de universalizare a limbajului sau. influenta lor launtrica, el a restabilit contactul cu
n ciuda cautarilor aparent diverse, fie ca traditia originala n care culoarea, desenul,
apartin celor care au spart tiparele academismului, compozitia sunt intim legate, coexista firesc.
progresistilor sau avangardistilor, este limpede ca Studiul si explorarea operei acestei perioade,
limbajul comunicarii estetice are niste parametri integrarea celor mai ilust re nume din artasusceptibili de a satisface sensibilitatea vizuala a romneasca ntr-un circuit vizual de masa, a facut
multora dintre noi. din unitatile muzeale specializate elemente
Arta romneasca, n special pictura, se fundamentale ale societatii moderne.
nscrie n aceasta era ntr-un proces evolutiv care a Intra astfel n constiinta marelui public notiuni
facut posibila universalizarea nu numai a unor artistice noi, concepte ce revolutioneaza nu numai
elemente de limbaj ci si creatia sub toate aspectele executia ci si perceptia. Artistii sunt cunoscuti ca
ei sub forma raportului artist-mediu national si a inventatori, originali prin procedeele noi, creatori de
legaturilor indisolubile cu apusul european, cu emotii neprevazute, ca demolatori ai armoniilormiscarile novatoare ale acestei perioade. considerate traditionale. Sa suprimi distinctia dintre
Aerul cu specific local, tendintele orientaliste, anumite acorduri cromatice, sa abordezi aproprieri
au atras si inspirat adesea importanti artisti care au disonante, sa anulezi nlantuirile compozitionale
conturat si dat substanta estetica creatiei lor, s-au considerate normale si obligatorii prin crearea unor
nchegat scoli, au aparut mari personalitati si grupari noi acorduri, armonii, structuri compozitionale
artistice. judecate altadata incompatibile cu arta, excluse din
Majoritatea acestor creatori au fost ispititi logica exprimarilor artistice, a nsemnat saltul mare
deopotriva de modernismul european ct si de latura ce a dus la nasterea modernismului cultural npitoreasca a estului, au ngemanat n arta lor noi acceptiunea lui cea mai larga.
seductii vizuale. Astfel noua arta apare sub gama unor
Dar marea transformare a artelor dateaza din sonoritati relativ simple si triumfa largind orizonturile
momentul din care artistii au abordat cele doua de cunoastere, de ntelegere si de interpretare.
tendinte din interiorul lor desavrsindu-si opera cu Aceasta orientare a artei este o manifestare a nevoii
elemente acceptate pentru valorile dale profunde si de a reda conceptului de masa zona lui de
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originalitate, necesitatea obiectiva de a progresa profesionalismul, aceasta ca o necesitate obiectiva,
mpreuna cu societatea sau naintea ei, trezind ca o conditie fireasca a schimbarilor artistice si a
constiinta umanista, amplificnd sensibilitatea. nnoirilor pe plan national si international.
Putem spune ca n arta romneasca nimic nu Ca urmare a asaltului si concurentei
este gratuit, ntmplator, ci totul asculta de marile profesionale (secti i de arta contemporana,
principii ale spiritului ntrupat n conduitele existentei deschizndu-se n mai toate muzeele mari din tara)
contemporane. Muzeul de Arta Galati face eforturi ca sa-si pastreze
Tot ca o necesitate obiectiva, ca un ecou la unicitatea prin originalitatea si profesionalismultransformari le petrecute n arta, apare si ia membrilor sai, aici capatnd contur nu numai prin
amploare, se dezvolta la Galati Muzeul de Arta diversificarea actiunilor, ci prin ncercarile tot mai
Vizuala cunoscut de-a lungul timpului sub diferite ncununate de a universaliza actul de creatie
denumiri. romnesc cu toate problematicile majore ale
Din acest moment, institutia creste odata cu acestuia.
specialistii sai, terenul viran este semanat cu Expansiunea, tendinta de a iesi peste
ndrazneala si priceperea unui colectiv tnar care s- hotarele tarii cu creatie romneasca de ultima ora
a maturizat facnd ca despre Muzeul de la Dunarea ofera Muzeului de Arta Vizuala Galati posibilitateade Jos sa se vorbeasca din ce n ce mai des si mai pastrarii unor segmente ale unicitatii lui chiar si n
elogios. contextul actual.Gheorghe AndreescuRennoind tot timpul fizic si ideatic,
Muzeografm u z e o g r a f i i d e a i c i s i d e s a v r s e s c
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The current selection offers the audience the information they need, in order to be acquainted with the patrimony of the
Visual Art Museum of Galati.In a world more and more devoid of reference points, or, in the long run, proved to be ephemeral, the symbol of the art
gains more and more its natural place of NECESSARY.The need to elaborate a catalogue presenting the collections that define the Visual Art Museum is always of topical
interest. This is a must if the museum wants to last as a cultural memory unit that preserves , exhibits, educates and includesthe artistic visual in the values circuite, through different ways, as a solution to materialize the ideal.
Hopes, wishes, projects have been permanently existing in the cours of time. Several publications highlightedremarkable snapshots presenting the activity of the museum, especially the scientific and informational capitalization of theexhibitions. But the importance of the museum as a patrimonial stamp was for the first time emphasized in the cultural
thsequence of the end of the 20 century, in a catalogue printed in 1988.
A project destined to present the Visual Art Museum in a different manner started in 2002, through the efforts of Mrs.Mariana Cocos (manager between 2001 - 2003). This project was financed by the local authority, the Galati County Counciland by the Ministry of Culture and Cults, through the mediation of the Galati County Direction for Culture, Cults and NationalCultural Patrimony. Thus, once the economic support was provided, everythign seemd easy
A fabulous patrimony, a scientific and tehnical staff having experience, professonalism and a real abnegation provedto be indubitable arguments to create a classic album of the Visual Art Museum. Actually, every participant at this pri ject isawere of the fact that here in Galati, more than enywhere else, in the course of the history of this place, the absurdity has
transformed itself in art. Our museum contributed to the taming of the reality through art, the same as the metal wastransformed on its way from the Iron and Steel Plant to the Danube riverbank All the stuff wanted more.
There was the permanence of the Vasile Onuts ideas concerning the manner of organizing fine art in a institutionalzone. Vasile Onut was the spiritual mentor of the museum between 1964 and 1967.
There was the remembrance of Nicolae Itus words: the museum with its open natures contributes to stimulate thecurrent plastic creation, to decant the values by confronting generations, tendencies and innovations. Nicolae Itu wasmanager of the museum between 1967 1990.
There was the idea of the Visual Art Museum as Ioan Simion M rculescu (manager between 1990 2001) imagined it: as an expresion of the gamut of researching, documentation and presentation, beyond the traditional branches of thefine arts, to the branches that compose the creation in an imagespecific to the contemporary civilization.
All the beginnings led to the amplification of the project. Under the circumstances, the solution of presenting the
museum in instalments came out with the Addenda et Corrigenda possibility, an alternative more pertinent for the audience.The first instalment is the present catalogue, dedicated to the painting. It will be followed by graphics, sculptures, deco
art, religious art, book picture, poster, experiment, design, scene-painting, city enviroment and everything that essentiallymeans VISUAL, entering in the sphere of activity of this cultural establishment. Therefore, The Visual Art Museum propose anew, open alternative to present its patrimony, a variant anytime capable to integrate the Romanian values in an universalperspective.
Dan Basarab NanuManager
The history of the Visual Art Museum of Galati has been took place and experiments ere done. This was a place where
i d i h l I i h i b i hi i ld hibi hi h i h i di
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written during the last 40 years. It is a short time, but in this artists could exhibit everything was worthy in their studious,
instance ew can talk of performances. without ideological implications. How was it possible, this is the
In 1967, a small picture gallery became a MUSEUM OF questin.
MODERN AND CONTEMPORARY ART. I dont know exactly The chance of the Museum of Romanian Contemporary Art
what the initiators thought about the future of this museum but was the result of its initial status. An institution that was implanted in
it had it had to be integrated in the new history of a city with the an artificially created reallity, an institution of the moment,
largest Iron and Steel Plant, a new urbane agglomeration therefore, safe for the authorities. Another advantage for thosehaving adequate establishments. years was also the distance up to the capital.
Doubtlessly, as it was thought, the nature of the Today we can say that, even if it was by chance, the museum
museum was built on artificial bases. The works of art were was one of the subversive institutions of the communist
supposed to have a theme suitable for the cultural life of the gouvernment. It complied with status, but responded to the reality
largest workers centre in the country. of a phenomenon, not to the ideological requests.
But as if often happens, things took a radical turn. The Since 1990, THE CONTEMPORARY ART MUSEUM OF
young specialists in museography hired at the new museum GALATI has become the VISUAL ART MUSEUM. A new history
transformed it in an organic establishment with a well definite has been written, but the chance of oneness in the future
nature, playing an important part in the Romanian fine art dissapeared once the Contemporary Art Museum of Bucharest
history. was inaugurated.
The museum structured itself on the run. Thus, in 1973, But the history compels the museum to keep its characteristic
it became a MUSEUM OF ROMANIAN CONTEMPORARY status. A young institution must offer an opportunity to the young
ART a modification of essence, not only on paper, with artists. The Visual Art Museum of Galati did that. If it will preserve its
unsuspected consequences for the authorities. We can goals to organize the first exhibition, to make the first acquisition
speak of a new type of referring to a museum activity that from the young artists, graduates of the Art Academies, the
developed here, a new attitude in the institution artist relation, museum will be able to maintain its status, its vanguard nature.
an anusual atmosphere for those years. Among other things, Destiny compels the museum to rely, once again, on a new,
a first change was the direct relation with the artist, with the inexperienced formula, but doubtlessly, with remarkable results in
studious, an effervescent exhibition activity that brought the future.
important names of the Romanian contemporary art in Galati.
Many works of art unable to be housed in Bucharest galleries Maria Magdalena Crisan
were exhibited here. In thids museum, the first performance Art Critic
Rsum the major plastic themes in the Romanian painting. It gainsspiritual values vibrating on large surfaces in Ion Nicodims
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The Visual Art Museum of Galati eas inaugurated paintings like Homage to the Yellow Field or The Beach.in 1967 as the first museum of Romanian contemporary art it Ion S listeanus painting can be considered as ahas been conceived specially to present the latest visualization of the vitality, of the way the lights is capturedtendenciest of the plastic phenomenon , this destination on the canavas.being still preserved. Approximately 400 works of art The Vegetation series signed by Ion Paceaexhibitied in the museum, but also in the open air, in the park constitute elaboration of natural outlines and of decorativeof the museum constitute a selection from a much more elements having folk sources. In Gheorghiu, a real master of
thample patrimony often enriched by a virtual patrimony of the the Romanian painting of the 20 century is at the
contemporary artists who became well-known during the confluence between abstract and figurative through hissecond half of the last century. monumantal painting named Suspended Garden, which
The museum has also a valuable art collection captures the look with incandescent harmonies. Thebelonging to th inter-war period: Th. Pallady, Gheorghe conceptualism marks the creation of some artists like HoriaPetrascu, Stefan Dimitrescu, Nicolae Tonitza, Camil Ressu, Bernea, Marin Gherasim and Sorin Dumitrescu. In the HillsNicolae Darascu, Lucian Grigorescu, Iosif Iser, Jean Al. series Horia Bernea, one of the most complex figures of ourSteriade or Marius Bunescu. For these artista the interest for culture, creator of remarkable rafinament and intensitythe landscape, for the human face is associated to the brings up again the issu of the style that becomes an objectcreation of a plastic language which develops the lesson of of investigation and also of the artists cognition. In Marianthe post-impresionism in the manner of dealing with the Gherasims painting, the sacredness reveals itself throughshape and of correlating its synthesis with a sensibility for the signs proceeding from the geometrical order of some
the colour. medieval or folk arhitectural elements, which send us to anThe Roumanian vanguard is represented by ancient , autochthonous spir ituality.
significant names some of them of European resonance Sorin Dumitrescus painting evolves in the sameauch as: Victor Brauner, Marcel Iancu, M. H. Maxy, Corneliu area of the neo-Byzantinism. The permanent exhibition isMichailescu, Irina Codreanu, Hans Mattis Teutsch or Milita completed by important donations: Idel Ianchevelici,Petrascu. One can fiind Victor Brauners paintings in Belgian sculptor of Romanian origin, Georgeta andimportant museums from all over the world, for example Constantin Aramescu, American artists born in Galati, andGeorges Pompidou Center in Paris. The paintings of Lola Schimer Roth, also an artist from Galati.Corneliu Baba and Alexandru Ciucurencu the masters Th e t e m p o ra ry e xh ib i t i o n s , va r i o u swho have created painting schools in the Romanian art manifestations dedicated to those who love art (thematiccertify a great value from a historical point of view and lay guiding, classes of art history, classes of esthetic education,
stress on the tendencies developed by the generations of creation camps, concerts, shows inspired by the history ofthe seventies and of the eighties. the costume a .s.o.) are part of the life of the museum in the
The expressionist paintings prevail in Ion present times from the viewpoint of the prospecting, of theTuculescus collection. They belong to his last stage, the patrimony and of the public relations.totemic one, suggesting archaic symbols. The Romanianworks of art created between 1967 and 2000 represent themost important part of the patrimony and of the permanentexhibition in yhe museum, whence well select some Mariana Tomozei Cocossignificant personalities and directions. The colour is one of Art Critic
harmonies, to tackle dissonant proximities, to cancel theDuring the last period, I mean those almost 100 yearsnormal and compolsory composition concatenations byof creation in painting, sculpture and decorative art, the
i h id d b i ibl
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p g pcreating new approaches considered to be incompatibleRomanian fine art has been characterized by tendency ofwith art, therefore excluded from the logic of the artisticgeneralizing its language.
Despite the apparently diverse seeking of those who expressions, all this stood for the huge leap that led to thebroke the patterns of the academism, the progressives or cultural modernism as we know it. Thus, the new artthe vanguardists, it is clear that the language of the aesthetic appeared using a range of relatively simple sonorouslesscommunication has some parameters which are able to and triumphed by expanding the knowledge, understandinggratify the visual sensibility of many of us. and interpretation horizonts.
In this era the Romanian art, especially the painting This art orientation is a manifestation of the need to joins the evolutionary process that made possible the
return to the mass notion its zone of originality, the objectivegeneralization of some language elements but also of the necessity to make progress at the same time with the societycreation. The last is considered in all respects, including the or ahead of it, awakening the classical consciounsness,relation between the artist and his national enviroment and amplifying the sensibility, we can say that nothing isthe indissoluble links with the Western Europe, with the unwarranted or fortitous, but everything obeys the greatinnovating movements of this period. principles of the spirit, embodied in the conducts of the
The local specific nature and the oriental tendencies contemporary existence.drew and often inspired important artists who outlined and The Viasual Art Museum (known under differentgrave aesthetic essence to their creation. Schools were set names through the time) was fonded and developed inup and great personalities and artistic groups appeared. Galai, also as an objective necessity, as a response to the
Both the European modernism and the picturesque changes in art.side of the East tempted the majority of these creator who From the time, the museum, has advanced alongside
joined new visual seductions in their art. But the great of its specialists, the waste ground being sowed withtransformation of the arts appeared when the artist tackled boldness and knowledge specific to a young staff who hasthe two tendiences from inside, perfecting their creation with matured participanting at the rising fame of the museumsome elements accepted for their profound and human situated at the Low Danube. The specialists in museographyvalues. have always perfected their professionalism , as an
From the moment when, more or less consciuosly, objective necessity, a natural condition of the artisticthe artist felt in his work their power and their inner influence, changes and of the national and international renovations.he reestablished the contact with the original tradition, As a result of the competition (there arewhere the colour, the drawing and the composition were contemporary art sections in almost all the importantclosely connected, they coexisted naturally. museums in the country), the Visual Art Museum of Galai
The investigation and exploration of the creation makes efforts to preserve its oneness through originality and
belonging to this period, the integration of the most brilliant professionalism, diverdifying its activities and trying tonames of the Roamnian art in a mass visual circuit generalize the Romanian creation act with all its majortransformed the museums in fundamnetal elements of the problems.modern society. Thus, new artistic notiones that The expansion, the tendency to go across the borderrevolutionized both the execution and the perception got into in order to present the latest Romanian creation offers thethe audiences consciousness. Viasual Art Museum the possibility of preserving some
The artist were known as inventors, eccentric segments of its oneness, even in todays context.persons using new proceedings, creators of unexpectedemotiones and demolishers of the traditional harmonies. Gheorghe AndreescuTo eliminate the distinction among certain chromatic Specialist in museography
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MUZEUL DE ART VIZUAL GALA IU Z EU L DE A RT V IZ U A L GA L A IDIRECTOR
DAN BASARAB NANU
CONCEP IA I REALIZAREA CATALOGULUI:MARIANA COCO, GHEORGHE ANDREESCU
TRADUCEREADA - SIMONA BIRI
GESTIONAR CUSTODE SALANGELA MUNTEANU
FOTO:EMILIAN SABU, VIOLETA MOCANU
TEHNOREDACTARE I PRELUCRARE COMPUTERIZATVIOLETA MOCANU
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