Résumé. L’image du Sommeil de Jésus porte des noms différents dans les Balkans et en Russie, sans se distinguer fondamentalement du point de vue iconographique. En Grèce l’image s’appelle Anapeson (gr. ό Άναπέσων: fr. Celui qui se couche – Genèse, 49 : 9) et porte parfois en titre le verset entier « Il ploie les genoux, il se couche, comme un lion, comme une lionne : qui le fera lever ?», alors que les icônes et les fresques russes du même type sont intitulées L’OEil qui veille et l’on y ajoute parfois l’inscription : « Le gardien d’Israël ne tombera pas en somnolence, il ne s’endormira pas» (Psaume 120 : 4) ». Le but de la présente étude est de relever l’importance des sources littéraires (y compris des textes liturgiques chantés aux matines du Samedi saint) dans la constitution du type iconographique de l’image du Sommeil de Jésus et de faire une description des ses variantes roumaines.
Keywords: Iconography, Romanian painting, Frescoes, Anapeson, Christ Reclining, The Unsleeping Eye, Physiologus, Lion.
Mots-clés : iconographie ; peinture roumaine ; fresques ; Anapeson.

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COSMIN UNGUREANU

Capriccio all’antica. Shaping the Ruin in the Age of Enlightenment

Abstract. From its outset in the 14th century, the poetics of ruin underwent a gradual mutation from nostalgic lamentation to romancing reverie. However, it was during the age of Enlightenment, and in the context of archaeological discoveries and picturesque voyages, that the perception of ruin acquired a more objective dimension. Nevertheless, the imaginative approach still persisted in the various representations of ruins, mainly through the medium of assemblage, displacement or distortion. These are, in fact, the strategies of capriccio, an artistic category which, although theoretically mistrusted, was quite in vogue during the age of Enlightenment. Even more interestingly, the caprice was not limited to painting, as it was introduced – in the form of the so-called fabrique – in the garden design as well, which, by that time, was largely considered as closely related to landscape painting itself. This text attempts to examine the ruin as an object/place meant to concentrate and display a complex set of meanings, pertaining to patrimony, history, time or destiny.
Keywords: ruin, capriccio, fabrique, landscape, garden design.
Mots-clés : ruine, capriccio, fabrique, paysage, jardinage.

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DOINA LEMNY

Sculpter l’éphémère. Brancusi et la danse

Résumé. Un parcours dans la sculpture du XXe siècle au sujet de la danse, à partir de Bourdelle, en passant par Rodin, par les mouvements d’avant-garde, introduit l’analyse proposée par Doina Lemny de l’approche de Brancusi à cet art éphémère. L’artiste roumain n’a jamais sculpté une danseuse, mais son oeuvre « danse » au rythme d’une musique intérieure, qu’il suggère à travers ses formes ondoyantes sous l’oeil attentif de sa caméra.
Keywords: dance, sculpture, Brancusi, body movement.
Mots-clés : dance ; sculpture ; Brancusi ; mouvement du corps.

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IRINA CǍRǍBAŞ

Literary Representations of Brancusi’s Studio

Abstract. This essay examines two novels, the main character of which is Constantin Brancusi: The Interview [1944] by Ilarie Voronca, and The Saint of Montparnasse [1965] by Peter Neagoe. Although dissimilar in style and genre, the two novels share the same pattern of shaping the artist’s image, grounded on mythical elements that are traceable at some points back in the Renaissance. The studio plays the key role in structuring the narrative of the two novels. Seen as an extension, if not as a double of the sculptor character, the studio is a space of seduction and authority, malleable and metamorphic, meant to set up the encounter with the artist.
Keywords: Constantin Brancusi – Ilarie Voronca – Peter Neagoe – the artist’s studio – the legend of the artist – fiction and art history.
Mots-clés : Constantin Brancusi ; Ilarie Voronca ; Peter Neagoe ; le studio de l’artiste ; la légende de l’artiste ; fiction et histoire de l’art.

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MAGDA PREDESCU

Le journal italien, pre-texte de l’oeuvre de l’artiste Ion Stendl

Abstract. Surprising the connections and the disconnection rapids from certain cultural codes, the transversal selections, the encyclopedic compulsion and the fragmentary consumption of reality in the short form offered by our life, the contents of the diary, as well as the collages from the cycle “Italian Letters” give an account of the creation of an artist for whom museums, exhibitions, archives, fairs – these postmodern cabinets of wonders – became the condition of the possibility of art.
Keywords: postmodernism, journal, Italy, memory, identity.
Mots-clés : postmodernisme ; journal ; Italie ; mémoire ; identité.

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ADRIAN-SILVAN IONESCU

Lee Miller à travers la Roumanie, l’appareil photo à la main (1946)

Abstract. A former model and fashion photographer turned war photographer, Lee Miller visited Romania twice, in 1938 and 1946 respectively. After her second visit she published her impressions and pictures, under the title of Roumania, in Vogue magazine. Besides the published material there are her manuscripts from The Lee Miller Achives at Farley Farm House, East Sussex, England, on which this paper is based. She crossed the border coming from Hungary in early February 1946. Heading for Sibiu her car, a Chevrolet Sedan, slipping on the ice-covered road, stopped on a snowbank far off in the ditch. While looking for help in the nearby village she and her companions left the car unguarded to discover it plundered of everything, wheels included.
On a Sunday afternoon she had the privilege of being received by King Mihai I and Queen Mother Elena with whom she talked exstensively. She also took magnificent pictures with the Royal Family in the imposing Peleş Castle. At Sinaia, „the summer capital of Roumania” she had also the opportunity to portray Dinu Brătianu and Iuliu Maniu, the two elderly statesmen. Maniu was surrounded by friends and party members, among whom was young Corneliu Coposu, his private secretary.
Moving to Bucharest, she met old friends such as Harri Brauner and his wife, Lena Constante, with whom she wandered through the country eight years ago. Lena and Elena Pătrășcanu, wife of Lucrețiu Pătrășcanu, Minister of Justice, have started a successful marionette theatre where Lee took nice pictures. Other were taken on the streets, with peasants, street vendors and their customers. Harri took her to a bistro where they met Maria Lătărețu, the celebrating folk singer whom Brauner recorded many times. They enjoyed her songs. Suffering from fibrositis, Lee Miller undertook a peculiar treatment in a gypsy village where the inhabitants were dancing bears trainers. She was massaged by a bear weighing about 300 pounds while Brauner took pictures with her Rolleiflex.
In her writings and pictures, Lee Miller left a vivid portrait of post-war Romania.
Keywords: war photography; King Mihai I; gypsy music; surrealism.
Mots-clés : photographie de guerre ; Roi Mihai I ; musique gitane ; surréalisme.

CHRONIQUE

L’exposition On the Home Front – Civil War Fashions and Domestic Life, Kent State University Museum, Kent, Ohio, le 30 septembre 2011 – le 26 août 2012 (Adrian-Silvan Ionescu), p. 161

L’exposition Infinite Jest: Caricature and Satire from Leonardo to Levine, Metropolitan Museum of Art, New York, le 13 septembre 2011 – le 4 mars 2012 (review by Adrian-Silvan Ionescu), p. 163

VIE SCIENTIFIQUE

Yearly Symposium of the Department of Medieval Art at « G. Oprescu » Institute of Art History in Bucharest: Recent Outcome in the Investigation of Medieval Art in Romania, 17-18 November 2011 (Department of medieval art), p. 167

Centre d’études brancusiennes « Barbu Brezianu », projet de l’Institut d’Histoire de l’Art « G. Oprescu » (Ioana Vlasiu), p. 169

Szathmari Pioneer Photographer and his Contemporaries, Academia Română, Institutul de Istoria Artei “G. Oprescu”, mai 2012 (Virginia Barbu and Ruxanda Beldiman), p. 172

COMPTES RENDUS 

DOINA LEMNY, CRISTIAN VELESCU, Brancusi inedit. Însemnări şi corespondenţă românească (Corina Teacă), p. 175

ALEKSEI LIDOV, L’hiérotopie. Les icônes spatiales et les images paradigmes dans la culture byzantine (C. Ciobanu), p. 176

Silvan. Portretistul. The Portrait Artist (Mark Bryant), p. 177

RUXANDA BELDIMAN, Castelul Peleş. Expresie a fenomenului istorist de influenţă germană (Corina Teacă), p. 178

Arta cositorului în colecţiile Muzeului Naţional de Artă din România (Ioana Iancovescu), p. 178

Dicţionarul sculptorilor din România. Secolele XIX-XX, vol. I, lit. A-G (Ruxandra Demetrescu), p. 179 

IN MEMORIAM 

PETRE Ş. NǍSTUREL (1923 – 2012)
Author: Marina Sabados

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