65. Madonna in Blue [1988]

From the clearly figurative manner of the '50s to the deliberate abstraction of forms after '59, massive language permutations will take place in Ion Alin Gheorghiu's painting style. Regardless of the theme or motive addressed, however, Gheorghiu will classicize popular forms and will attribute lyrical valences to his works. The imaginative-abstract adventure that starts from the "Hanging Gardens" series, which he discovers in Jacques Prévert's texts and up to the current cycle, more sober and more mystical, reveals the musicality of the canvases and plastic forms that capture the artist's emotions. Starting from the premise that "everything is to escape from Luchian's flowers, from Cézanne's apple, from Braque's guitar etc.", Ion Alin Gheorghiu will free himself from the undeniable force of mimesis and will gradually find his own semantics. There will be no more barriers between the artist and chromatics. Painting appears, in his understanding, as a "possible variant" of existence, a reordering of usual things and forms, 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 lightly imprinted in the density of the canvas.

References

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

Dimensions

width 110.5 cm, height 131 cm

Description

oil on canvas, signed and dated upper right, in pencil, "GHEORGHIU, (19)88"

Dating

1988

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