Tome LII, 2015
CONSTANTIN I. CIOBANU
Les sources littéraires des citations peintes sur les phylactères des saints de la rangée inférieure de la façade et de l’exonarthex de l’église de la Résurrection de Dieu du monastère de Suceviţa
Résumé. Cette étude vise
à découvrir les sources littéraires des citations peintes sur les phylactères
des saints de la rangée inférieure de la façade et de l’exonarthex de l’église
de la Résurrection
de Dieu du monastère de Suceviţa. Elle est une suite de
l’article sur les sentences des pères du désert,
des confesseurs, des anachorètes et des stylites peints sur la façade méridionale
de l’église de l’Annonciation de la Vierge de Moldoviţa. Son objectif est de donner un aperçu
précis sur la variété des sources littéraires qui ont été choisies par les
auteurs du programme iconographique du dernier ensemble de peintures murales
extérieures moldaves peintes au XVIe siècle. L’auteur de l’étude montre que ces
citations de Suceviţa sont
en grande partie tirées de la Collection alphabétique des Sentences des Pères du Désert. Cette Collection alphabétique a le rôle joué
au monastère de Moldoviţa par la sélection des sources grecques primaires de la
traduction russe du XIXe siècle faite par Théophane le Reclus et appelée par
celui-ci Paterikon palestinien. La paternité des ces citations est plus ou
moins arbitraire à Suceviţa : nous observons une attribution correcte
seulement dans les cas des images des saints Antoine, Nil, Arsène, Étienne le Nouveau,
Barlaam et Isaïe. De ce point de vue, la situation est semblable à celle observée
aux monastères de Humor et de Moldoviţa.
Dans le
programme iconographique de Suceviţa il y a plusieurs répétitions des mêmes citations : elles sont
attribuées à divers ou aux mêmes saints. C’est le cas des citations de Saint
Chariton et de Saint Daniel le Stylite, de Saint Cyriaque l’Anachorète et de
Saint Patapios, de Saint Athanase l’Athonite et de Saint Jean le Calybite, de Saint
Nil et de Saint Gérasime, de Saint Jean Damascène (qui est peint deux fois :
sur la façade sud et dans l’exonarthex), de Saint Théodore le Confesseur et de
Saint Théodose le Cénobiarque, de Saint Arsène de la façade sud et d’un saint
au nom effacé de la façade nord.
Keywords: Alphabetical Patericon, Apophthegmata Patrum, Egyptian
Patericon, Epigraphy, Frescoes, Iconography, Middle Age, Moldavia, Suceviţa
monastery, Romanian Painting, Sayings of the Desert Fathers.
DANA JENEI
Les peintures murales de l’église de Mălâncrav. Notes avant la restauration
Abstract. The two distinct ensembles of mural paintings
of the church, from the nave and sanctuary have permanently been in the attention
of the researchers, but their study cannot be considered completed, because thorough
parament studies and archaeological investigations, indispensable to clarify
the phases of the monument, have not yet been achieved. However, the research
works in the years 2001-2002 and 2013 brought to light new data that
substantially enrich the information and contribute to a better understanding
of the evolution of the monument.
In 2001, the investigations showed,
among others, that except the frescoes on the north, there are no other painted
zones inside the nave, while in 2013 the restorers have revealed the existence
of the register VI of paintings on the pillars, which mostly are under the
lime. The art historian’s research contributes with the identification of
several scenes and details unknown so far, such as the figures of Saints James,
Sebastian, Anthony and Peter, or the jesters next to Herod and Pilate in the Christological
Cycle. There was also detected the contribution of three distinct teams who
have worked, “soon after 1350”. The paintings in the nave illustrate, along
with the ensemble in the sanctuary, the various artistic trends subsumed to the
Gothic painting from the fourteenth century and due to the munificence of
successive generations of the noble family Apa, lords at Mălâncrav since 1258.
The graffiti on the painted surface of the apse, transcribed by Victor Roth in
several versions, contains the year 1404/1405, considered as a terminus ante
quem for the achievement of the painting, and the name Nicolaus, the most important representative of
the family and the presumptive donor of the paintings. Gernot Nussbächer “shows”
that the inscription is not of “Hic fuit” type and the script is a few decades
later, presumably recording an event that took place that year.
The obvious difference of the
architectonic and spatial expression between the basilica and the Gothic choir decorated in the
elaborated forms of “international style” was highlighted by the researchers
and Vasile Drăguț’s theory concerning the rebuilding of the sanctuary in the
late fourteenth century remains relevant, being sustained by our observation on
the different heights of the dados, lower in the choir than in the church, as
well as the compaction of masonry on the north, hidden by the first buttress.
The scientific investigations from
2001–2002 also showed that a “Baroque restoration” or other repaintings in the
choir ensemble didn’t exist, while the most important information after removing
the lime in 2013 is related to the identification of certain figures, such as “Johel
Propheta” and, in the newly stripped area, St. Elizabeth of Thuringia. Near the
right margin of the Crucifixion appeared the damaged fragments of the Laying
into the Tomb and, hypothetically, the figure of the donor.
Keywords: Transylvania, Mălâncrav, Apafy, mural painting, iconography, style.
VLAD BEDROS
«Approchez avec crainte de Dieu, foi et amour» : le programme iconographique de la travée occidentale de l’abside en Moldavie (XVe – XVIe siècles)
Abstract. This paper, informed by an inventory
of the apse iconography in Moldavian monuments from the late 15th to the first
half of the 16th century, draws attention to an overlooked element of the otherwise
familiar iconographic system employed – with occasional nuances – within the
Post-Byzantine tradition in the aftermath of the Alosis: the selection of themes
to be displayed in the bay which links the apse to the naos. The arrangements
encountered in monuments dating from (approx.) 1490 to 1535 put forward a
variety of formulas which – although described in a sequence that deliberately
emphasizes the similarities which came across – are nonetheless indicative of a
broad and not necessarily fluent use of the late Byzantine tradition. It seems
that the basic message conveyed by these iconographic boundaries aims at stressing
the holiness of the sanctuary (involving a separation from the iconography of
the naos, in the cases of Probota and Saint-Georges in Suceava) but also, in a
manner which could be informed by the late Byzantine perception of the liturgy –
as deduced from the writings of Nicolas Cabasilas and St. Simeon of Thessaloniki
–, at joining together naos and apse, via ‘iconographic belts’ (most frequently
the Passion cycle, which sets out from and ends up in the sanctuary). The abundance
of theophanic themes invites one to consider this iconographic thresholds in
relation with the receiving of Communion, administered on the solea which lies
underneath.
Keywords: Moldavia, 15th and 16th century, iconography,
liturgy.
ADRIAN-SILVAN IONESCU
Le portrait d’enfants - entre statut social et art photographique
Abstract. Special attention was offered to the
infantile portrait in the 19th century studio photography. This was also the
most difficult to make because of the agility or timidity of the models. The
photographer must have shown good parenting skills and a lot of diplomacy –
and, why not, cleverness – to convince the little model to stand still for a
few seconds while the photograph was taken.
Without too much alienation from the standards
of the studio portrait, the photographer used to give vent to the fantasy when
the client was a child. In many cases many pieces of photographic art were made
this way and after many years still represent the impersonation of the
childhood that is long gone.
Keywords: photography, wet collodion, children,
fashion.
DOINA LEMNY
Modigliani : l’expérience de la sculpture auprès de Brancusi
Résumé. En 1906, Modigliani va à Paris avec, dans ses bagages, une vaste culture
littéraire et philosophique. Il y fait la connaissance, parmi d’autres, du
docteur Paul Alexandre, son futur mécène, qui l’introduit à Brancusi, installé
ici depuis 1904. Modigliani qui complétait ses revenus avec ses dessins et ses
peintures, décide de se mettre à la sculpture, ce qui le rapproche davantage à
Brancusi. De cette période datent plusieurs dessins représentant le portrait de
Brancusi, dont celui où le sculpteur joue de la contrebasse. A l’époque où
Brancusi travaillait à la simplification des formes, Modigliani s’approprie en
sculpture le portrait unique, synthèse des figures égyptiennes, africaines, khmères.
A l’aide de Brancusi, il expose au Salon des indépendants (1911) et, en 1913,
il décide de partir à Carrare pour tenter une dernière communion avec la matière
sculpturale. Il ne fait pas carrière en sculpture, car on lui reproche souvent
l’influence brancusienne et, heureusement, il revient à la peinture. Mais l’amitié
entre les deux reste pour toujours.
Keywords : Brancusi ; Paul Alexandre ; art africain ; cariatides ; salon des indépendants.
ELENA DUMITRESCU
The Ecorché by Brancusi and Gerota. Artistic Creation and Anatomic Science
Abstract. The paper aims to shortly retrace the
history of the Écorché made by Constantin Brancuşi as a
school project in 1901, while he was still a student at the art school in Bucharest. Brancuşi
completed it in two years with the support and guidance of his anatomy
professor, Dimitrie Gerota, with whom the artist actually shared the authorship
of the artwork. It was the first such project ever made in Romania, so it was
important for both, student and teacher, that it would be well received by the
Academia and the art scene. Created at the beginning of the last century, the Écorché was a very modern and advanced idea,
its making requiring high-level skills, unusual and unprecedented, not only for
an art school graduate, but even for the entire scene of Romanian sculpture.
The work was regarded as a masterpiece, and appreciated as an essential stage
in the ensamble of Brancuşi’s oeuvre. The paper presents a summary of the
analysis of the Écorché and the copies made by Brancuşi at
the time.
Keywords: Brâncuși, Gerota, sculpture, anatomy,
model, original, copy.
NOTES ET DOCUMENTS
ECATERINA CINCHEZA BUCULEI
Sucevița - l’iconographie du premier synode œcuménique
Abstract. The very special manner in which the
First Ecumenical Council was reproduced at Suceviţa – the presence of Empress
Elena next to Constantine and their association with the cross between them, The Vision of St. Peter from Alexandria, the moment when Arius was spanked by
St. Nicholas who holds his beard and the unique episode of Arius’death in a
public latrine as a result of his unbelief – reflects on one hand, the connection
of the Council with the Liturgy and with the Trinity dogma and, on the other
hand, they emphasize the victory of the true faith defended at Nicaea. It was
the confession of this faith that brought the sacrifice of the Saints from the
Menology, an amply painted theme on all walls of the narthex.
Keywords: Suceviţa, Ecumenical Council, Arius,
narthex.
MARINA SABADOS
Un panagiaire peint de Moldavie (1613)
Abstract. The topic of the paper is an unusual
panagiarion, having belonged to a private collection from Piatra Neamţ (Neamţ County)
two decades ago. Its aspect differs from the well known panagiaria, formed of
two little plates carved in wood, bone, ivory or even nacre, and covered in gilded
silver, as well as engraved in silver or gilded silver. The panagiarion in question
is a single plate, considerable bigger than usual (22.5 cm in diameter), which
is painted, fact rather infrequent in the field. At first sight, the
iconography of this panagiarion – i.e. the Virgin Blachernitissa, a traditional theme for the Byzantine
panagiaria – could have been a common theme for the medieval Romanian items,
but the existence of the tetramorph representation refers to a Russian
tradition of the 15th century. The liturgical inscription around the
panagiarion from Piatra Neamţ reproduces the second part of the Axion Hymn, ‘It
is very meet to bless Thee’, which is attached to all the Virgin Blachernitissa
representations on panagiaria, in relation with its ecclesiastical function.
The donation inscription in Old
Slavonic, being placed on two sides of the second rhomb in the background, in
which the Virgin is inscribed, provides the name of the donor – a none whose
name, unfortunately partially preserved, remains unknown –, and the date of the
donation: 9th of June 7121 (1613).
Keywords: panagiarion,
Virgin Blachernitissa, Great Panagia, Axion Hymn, Romanian icon painting, 16th century.
CHRONIQUE ET VIE SCIENTIFIQUE
Session annuelle du département d’art médiéval de l’Institut d’Histoire de l’Art «G.Oprescu» de Bucarest : Nouvelles données dans la recherche de l’art médiéval de Roumanie, XIe édition, 11-12 décembre 2014 (Département.d’art médiéval), p. 147
Voyage d’études à Sofia, 19-25 juillet 2015 (Adrian-Silvan Ionescu, Virginia Barbu, Marian Ţuţui), p. 155
COMPTES RENDUS
PAUL DIN ALEP, Jurnal de călătorie în Moldova şi Valahia (compte rendu par Tereza Sinigalia), p. 161
150 de ani de învăţământ artistic naţional (compte rendu par Mihnea Alexandru Mihail), p. 162
IRINA GENOVA, Modern Art in Bulgaria : First Histories and Present Narratives Beyond the Paradigm of Modernity (compte rendu par Virginia Barbu), p. 164
ADRIAN-SILVAN IONESCU, Războiul cel Mare. Fotografia pe frontul românesc 1916-1919 (compte rendu par Alin Ciupală), p. 165
ALEKSANDĂR IANAKIEV
(Auteur: Adrian-Silvan Ionescu)
Copyright © G. Oprescu Institute of Art History, 2010
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