The work is part of the collection of oriental decorative art of the Tulcea Fine Arts Museum and is exhibited in the temporary exhibition “Vase de foc”.
In March 2023, at the Fine Arts Museum in Grigore Antipa str., no. 2, the public can admire “Field sown and stubble” (wood and metal), whose author is Teodor Hrib (b. 1946).
The work is part of the sculpture collection of the Tulcea Fine Arts Museum and can be viewed, as part of the permanent exhibition, from March 1 to 31, 2023.
“Teodor Hrib was born on January 1, 1946 in Arbore commune, Suceava county. Since high school, he reacted against the communist regime through public statements and harsh cartoons. Being considered an ‘antisocial and dangerous individual for society’, he was investigated for 30 years, constantly pursued and persecuted.
Since 1985, being considered one of the best engravers in Romania, Teodor Hrib coordinated the PODUL engraving workshop and gallery in Bucharest, Speranței str., no. 15. On the studio door, in the spirit of his convictions, the artist placed a photo of the Polish leader Lech Walesa. In this place, in addition to graphic experiments, Teodor Hrib holds meetings, discussions and lectures, atypical events for Romanian contemporary art at that time. In 2004, the workshop and the gallery were devastated. Marked, Teodor Hrib completely left engraving and chose to work with “an art closer to real life”, as he himself declared. His installation-type sculptures, allegories, human-robots, absurd mechanisms, with integrated circuits and noisy engines are the subject of an aesthetics of unprecedented freedom. These hybrids of painting, sculpture and assemblage, built from discarded objects, are Teodor Hrib’s effect to explain contemporaneity more clearly and directly.”
Source: https://www.modernism.ro/2010/05/10/teodor-hrib-galeria-de-arta-contemporana-a-muzeului-national-brukenthal/
In February 2023, at Avramide House, Progresului str., no. 32, the public can view “Bol”, a copper object, made at the beginning of the 20th century, in a Romanian workshop.”
The work is part of the collection of oriental decorative art of the Tulcea Fine Arts Museum and it is exhibited in the temporary exhibition “Vase de foc”(Fire bowls).
In February 2023, at the Fine Arts Museum, Grigore Antipa str., no. 2, the public can admire “Composition with self-portrait” (mixed technique), a work made in 1968 by Max Hermann Maxy (1895 – 1971).
The work is part of the painting collection of the Tulcea Fine Arts Museum and it is permanently exhibited.
Starting with September 2022, at the “Danube Delta” Ecotourism Museum Center at 14 Noiembrie str., no. 1 bis, the public will be able to view the temporary exhibition entitled “Steps through evolution”.
Organizers: “Gavrilă Simion” Eco-Museum Research Institute Tulcea in collaboration with “Grigore Antipa” National Museum of Natural History Bucharest.
What the organizers say:
” The exhibition presents a set of exhibits, both naturalized animals and bone remains (skulls and skeletons), which highlight different adaptations of species to their living environment.
Vertebrate evolution is a story of transitions and adaptive changes: transition from water to land (from fish to tetrapods), from land to air (from reptiles to birds) and, in some cases, a return to the aquatic environment (e.g. whales, dugongs) or terrestrial (eg cassowaries, penguins).
When species from different groups enter similar habitats, these species must meet similar biological requirements. Thus, convergence in habitats partly explains the elongated body and the presence of fins, both of the shark and of the dolphin, because similar functions are served by similar parts under similar conditions. However, these animals come from very distant branches and remain fish and mammal, respectively.
All evolutionary adaptations in the animal world increase the chances of species survival.”
The Fine Arts Museum from Grigore Antipa Street, no. 2, invites the public to appreciate the work “Eva” (bronze), author Frederic Storck (1872 – 1942), a work that is part of the museum’s sculpture collection.
“Carol’s younger brother and son of Karl Storck, Frederic Storck, a member of an elite artistic family between the end of the 19th century and the beginning of the 20th, make a special mark in modern Romanian art. both through its creation and through the involvement in the socio-cultural life of the interwar period. Formed in Bucharest and Munich, Frederick Storck founded the famous group “Artistic Youth”, which would include the most important modern Romanian artists, and together with his wife, Cecilia Cuţescu-Storck, formed a family of intellectuals and artists. or set the tone for innovations in the cultural landscape of the time.
Academic style and realist-naturalism also rooted Frederic Storck in the early period of creation, so that in adulthood he would move away from these formulas, going on a more accentuated stylization of forms.
Like his brother, Carol, he worked on allegorical statues, such as Adevărul, Industria, Agricultura, in Carrara marble, but also portraits of cultural and political personalities: Ion Heliade Rădulescu, Alexandru Macedonski, Mihai Eminescu, Anastasie Simu, Carol I or Regina Elisabeta . The sculptor’s favorite material was marble, probably for the nobility with which he managed to represent his models and for its durability. Carol and Frederic Storck’s art is a starting point and a landmark for the further development of Romanian sculpture, which will then embrace many directions and styles. “
Luiza Barcan (2014)
Source: http://www.sculpture.ro/fisa.php?id=802
Avramide House from 32 Progresului Street, invites the public to appreciate the armchair – Louis Philippe style replica, made of wood and cotton and silk fabrics in a European workshop. The object is part of the permanent exhibition of the Avramide House.
The style of architecture and design under King Louis Philippe I (1830–1848) was a more eclectic development of French neoclassicism, incorporating elements of neo-Gothic style and other styles. It was the first French decorative style imposed not by royalty, but by the tastes of the growing French upper class.
Much of the style was taken from the personality of the king himself. Unlike his Bourbon predecessors, he lived in Paris and avoided ceremonies. He did not impose any official style.
During the reign of Ludovic Filip, the forms of furniture changed little compared to the period of the French restoration; comfort has become a higher priority. The furniture became darker and heavier. The shapes of the chairs became rounded, with curved legs, and the backrest of the armchairs was slightly curved inwards.
Source: https://en.wikipedia.org/wiki/Louis_Philippe_style
