52. Revelation [1964]

The transition from figurative to abstract art will happen on the background of Roman Cotoșman's trip to Paris in 1963. Returning to the country, he meets Ștefan Bertalan and Constantin Flondor, with whom he will lay the foundation of the "111" experimental group. This movement proposes a space dedicated to collective research, where the aim was to keep the individuality of each member. Cotoșman will begin to break the plastic sign and to integrate subtle allusions by chromatic games. He will extend over the surface of the canvas and will explore the area of kinetic art through various experiments (light projections made for the Little Theatre in Bucharest or the Jazz Club in Timisoara). The work will be profoundly marked by changes of nuances which interlock and penetrate the surface of the work. The artist will be preoccupied by the simplicity of the composition and the reducing of the plastic experience to just a few suggestions. He will constantly expose, under the auspices of a constructivist-experimental language and will explore an unknown terrain, a void in which he is forced to light his own way. The grammar of his visual style, with his bold accents that challenge abstract decoding, is intensified by the fragmented movements of colour and light. Roman Cotoșman's work reveals a personal system within which the artist's inner world is embedded. Theoretical developments in the scientific area, intended to enhance the meaning of his creations, are found particularly after 1964. The artist essentialises painting by taking aspects from cubism and Byzantine art and gives the viewer the role of an interpreter whose duty is to give his own meaning to the play of colours.

References

"Roman Cotosman – Diet Sayler. An Artist Friendship", Bucharest, 2015.

Dimensions

width 33 cm, height 24 cm

Description

watercolour on paper, signed and dated bottom right, in blue, "R.C., III. (19)64"

Dating

1964

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