33. Madonna [1992]

From the obviously figurative manner of the 1950s to the intentional shape abstraction of after 1959, in the pictorial style of Alin Gheorghiu, massive language permutations will take place. However, regardless the theme or the motif, Gheorghiu will classicize popular forms and will give lyrical values to his works. The imaginative-abstract adventure that starts from the series of "Hanging Gardens", which he discovers in the texts of Jacques Prévert, to the more sober and mystical cycle, reveals the musicality of the canvases and the plastic forms that capture the artist's emotions. Starting from the premise that "it's all about getting rid of Luchian's flowers, Cézanne's apple tree, Braque's guitar, etc.", Ion Alin Gheorghiu will free himself from the undeniable force of mimesis and gradually find his own semantics. Between artist and chromaticism there will be no more barriers. Painting appears, in his understanding, as "a possible variant" of existence, a reordering of the ordinary and a recontextualization of forms. The artist also reconsiders universal themes in a distinct key. In his works, matter becomes art, and the physiognomies that define archetypal characters are gently imbued into the density of the canvas.

References

"Ion Alin Gheorghiu", Romanian Cultural Institute Publishing House, Bucharest, 2004.

Dimensions

width 70 cm, height 100.5 cm, custom 100,5 × 70 cm

Description

oil on canvas, signed and dated upper left, in white, "GHEORGHIU, (19)92"

Dating

1992

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