Pictori basarabeni în şcolile de artă ale Europei
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2021-04-23 21:36
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75.071.1(478):37(4)(091) (1)
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Educație (8495)
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STĂVILĂ, Tudor. Pictori basarabeni în şcolile de artă ale Europei. In: Patrimoniul cultural de ieri – implicații in dezvoltarea societatii durabile de maine. Ediția 2, 22-23 septembrie 2020, Chişinău. Iași – Chișinău: 2020, pp. 38-43.
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Dublin Core
Patrimoniul cultural de ieri – implicații in dezvoltarea societatii durabile de maine
Ediția 2, 2020
Conferința "Patrimoniul cultural de ieri – implicații în dezvoltarea societății durabile de mâine"
Chişinău, Moldova, 22-23 septembrie 2020

Pictori basarabeni în şcolile de artă ale Europei

Bessarabian painters in the art schools of Europe

CZU: 75.071.1(478):37(4)(091)
Pag. 38-43

Stăvilă Tudor12
1 Institutul Patrimoniului Cultural,
2 Ministerul Educației, Culturii și Cercetării
Disponibil în IBN: 10 martie 2021


Modern art in Bessarabia has known two main stages of its evolution, which coincide from a historical point of view: the first period refers to the governmental status of the land in the composition of tsarist Russia (1812–1918), and the second – has a tangent to the reintegration of Bessarabia with Romania (1918–1940). The first stage marks the establishment of modern art, the last reaching the peak of its development. Specifically, for both periods, the studies carried out by Bessarabian students in different cultural centers in Eastern and Western Europe during the interwar period remain constant. St. Petersburg and Moscow, Kiev and Odessa in the Russian Empire, Munich, Paris, Amsterdam and Brussels without the West were the teenage years with the most beautiful sparkles in creation. For some, France, Germany, Belgium and the USA are the countries where many artists will continue their creative activity, becoming prominent representatives of these adaptive homelands, others return to Bessarabia or Romania, their fate remaining uncertain during the establishment of „socialist realism”. Incomparable are the comparisons between the fate and the creations of these plastic artists divided according to ideological criteria. The remaining Bessarabians in the West are dedicated to museums, those who return to the „Soviet paradise” are forced to create in the spirit of the new ideology or to follow the paths of the gulag.

Bessarabian painters, studies, Tsarist Empire, Western Europe, ideology