ISSN 2345-1181 eISSN 2537-6136 The Scientific Magazine „Arta”, the unique publication in the Republic of Moldova dedicated to the vari­ous aspects of the arts studies, follows the policy of the ethic in scientific publications according to the Code of Editorial Ethic proposed by the Committee on Publication Ethics (COPE).
Prehistoric art in the Romanian space. Author: Rodica Ursachi, doctor in Arts,Faculty of Visual Arts and Design, UPSC
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The Festival’s Echo “Lalka też Człowiek”
Dimitrie Cantemir – the first Romanian musician of European magnitude. Reflections and recognitions in Western and Romanian culture (II)
This text analyzes the theoretical and creative dimensions of Dimitrie Cantemir’s musical activity, highlighting his fundamental role in the systematization of Ottoman music. His primary work, The Book of the Science of Music, is presented as a landmark document in which the Prince introduced an original alphabetical notation system (utilizing Arabic characters) to provide a theoretical framework for a tradition previously based solely on memory and practice. The text traces the efforts to recover this cultural treasure, beginning with Teodor Burada, the first Romanian researcher to transpose Cantemir’s compositions onto European staves (Guidonian notation). Subsequently, the extensive studies of Eugenia Popescu-Judetz clarified controversies regarding the number of his musical works, confirming that the theoretical treatise and the collection of melodies constitute a unified body of work. Additionally, the text mentions the contributions of modern scholars such as Owen Wright and Victor Ghilaș, who have deepened the analysis of the melodic modes (makam) and rhythmic cycles (usul). The conclusion emphasizes Cantemir’s status as a true polymath (spirit enciclopedist); he was not only a theorist and an inventor of acoustic measuring instruments (the sonometer) but also a respected composer and a recognized pedagogue who founded a music school in Constantinople. His musical legacy remains a cultural pillar that bridges Oriental tradition with European scientific rigor
Remarkable personalities of architecture from the Republic of Moldova. Etti-Roza Spirer: 125 years since the birth
Aniversarea celor 125 de ani de la naşterea arhitectei Etti-Roza Spirer (16 aprilie 1900–30 martie 1990) a reprezentat un prilej deosebit pentru un moment de reflecţie cu privire la perenitatea valorilor identitare proprii proiectelor sale arhitecturale. Spaţiu pentru un dialog deschis a fost oferit de Institutul Patrimoniului Cultural. Masa rotundă, organizată în luna martie a anului curent, a reunit arhitecţi, urbanişti şi specialişti în domeniul patrimoniului cultural pentru a omagia devotamentul faţă de meseria de arhitect, demonstrat de reprezentanta sexului frumos care a declanşat afirmarea femeilor în domeniul arhitecturii la noi în ţară. În cadrul mesei rotunde participanţii la eveniment şi-au prezentat punctul de vedere, opiniile şi ideile prin comunicări cu un bogat material factologic, pentru determinarea tabloului real al proceselor din perioada postbelică şi influenţei arhitecţilor asupra acestuia.
Copyright (c) 2025 https://creativecommons.org/licenses/by/4.0
The transcendent symbolism of forms and chromatics in the work of the painter Dany- Madlen Zărnescu
„Ca o zi a vieţii” – este titlul sugestiv al antologiei apărute recent la Editura Muşatinii din Suceava (în anul 2024) publicate în omagiul artistei plastice Dany-Madlen Zărnescu. Florilegiul - alcătuit de Doina Cernica cuprinde o colecţie de articole, documente şi afişe relevante, cronici de expoziţii, interviuri, studii critice şi analize asupra tehnicii colajului, alături de portrete artistice ale plasticienei (504 pagini de text şi ilustraţii). Prezenta lucrare a fost concepută, conform mărturiei autoarei „la zece ani de la trecerea în eternitate a pictoriţei Dany- Madlen Zărnescu”, având drept obiectiv stimularea unei reevaluări şi redescoperiri a operei sale artistice” [ 2, p. 9]. Volumul, amplu documentat, se structurează pe două direcţii principale: biografismul şi memorialistica.
Theodor Kiriacoff: 125 years since the birth
Theodor Kiriacoff a fost un nume foarte cunoscut printre iubitorii de teatru şi criticii teatrali din perioada interbelică şi cea postbelica. La Chişinău, Iaşi sau Bucureşti scenograful basarabean s-a bucurat de o apreciere bine meritata datorita spectacolelor pentru care artistul realizase costumele şi schiţele de decor. Ca sa inflelegem mai lesne rolul pe care l-a jucat Th. Kiriacoff în scenografia romaneasca, e firesc sa ne adresam izvoarelor de epocă şi să urmărim evoluţia genului pe care l-a îmbrăţişat, analizând totodată nivelul la care se profesa această artă în prima jumătate a secolului XX, la apariţia în scenă a pictorului.
60th Anniversary of the Department of Architecture - History, Destiny and Value of the School of Architecture of the Republic of Moldova, Technical University of Moldova, Faculty of Urban Planning and Architecture
Școala de Arhitectură din cadrul Universității Tehnice a Moldovei are o istorie și parcurs academic remarcabil, fiind inregistrată în 1964 odată cu întemeierea Institutului Politehnic „S. Lazo” din Chișinău (actualmente UTM), cu denumirea de Catedra Arhitectură şi Construcţii Inginereşti, în cadrul Facultății de Inginerie și Construcții. Prima admitere la specialitatea Arhitectură a avut loc în anul 1965. Arhitectul Viktor Smirnov în anii 1965-1974, a exercitat funcția de șef de catedră, numit prin ordinul rectorului Institutului Politehnic „S. Lazo”, prof. univ., dr. hab., Sergiu Rădăuțanu.
The artistic heritage of the sculptor Alexandru Plămădeală. 85 years since the sculptor’s death
Potenţialul artistic înalt al marelui sculptor al Basarabiei interbelice, Alexandru Plămădeală (1888-1940) a marcat arta plastică autohtonă, amprenta lui edificatoare resimţindu-se până în prezent. Trecerea de la formele artei ţărănești la înaltele standarde ale artei universale a devenit posibilă datorită căutărilor teoretice și practice ale maestrului, care, alături de predecesorii săi Terentie Zubcu și Vladimir Ocușco, a reușit să aducă întreaga artă academică universală spre asimilare tinerilor talente din Basarabia. Studiile lui Alexandru Plămădeală au început la cursurile de artă de la Școala Comunală de Desen din Chișinău, condusă de Vladimir Ocușco, apoi, în anii 1912-1916, au continuat la Școala de Pictură, Sculptură și Arhitectură din Moscova, unde i-a avut în calitate de profesori pe Serghei Volnuhin și Konstantin Korovin. Revenind la Chișinău, în 1918 și în 1919, fiind numit în funcţie de director al Școlii de Arte Plastice, el se va autoperfecţiona încontinuu, îndrumând tânăra generaţie de plasticieni.
Art and activism of the Republic of Moldova in the Romanian magazine “Arta"
Ediţia recentă a revistei Arta din România dedicată unei problematici stringente, aduce în prim-plan relaţia complexă dintre artă şi activism în spaţiul pruto-nistrean. Revista ARTA — publicaţie de arte vizuale a Uniunii Artiştilor Plastici din România — a apărut în perioada socialistă între 1954–1993, şi-a întrerupt apariţia între 1993–2010 (cu o scurtă reluare în 2000–2001), a fost relansată în 2010, fiind în prezent editată de UAP, cu sediul redacţional în Bucureşti.
Cetatea Chilia. Aspecte istorico-arhitecturale, autor Mariana Șlapac
Căutarea și descoperirea orașelor dispărute este un vis al istoricilor și arheologilor din toate timpurile și de pe toate meridianele, de la Troia lui Homer și Atlantida lui Platon, până la Sicambria și la capitalele fostelor regate medievale din Asia de Sud-Est și America de Sud. La noi este destul să amintim orașul Helios al geților din Câmpia Munteană „vizitați” de Alexandru Macedon în 335 î.d.Hr., capitalele lui Dromichaites și Burebista, Kreuzburg al Cavalerilor Teutoni din Țara Bârsei în 1225, Vicina dunăreană și cetățile Milcovia și Crăciuna din sudul Moldovei. Chilia («Troia românească», un calificativ vădit exagerat) face și ea parte din această categorie, dar paradoxal, amplasarea ei aproximativă pe teren nu a rămas necunoscută. Căci, așa cum dovedește, în urma unei analize critice a tuturor izvoarelor edite și inedite cunoscute până astăzi, autoarea acestei cărți, avem nu mai puțin de patru locații propuse specialiștilor: Chilia Veche și Chilia Nouă pe de o parte, Vâlcovul și Periprava pe de alta.
Typology and décor of “roof tiles” from Western Ukraine
This article explores one of the most widely spread types of architectural earthenware, namely roof tiles, which were used in constructing religious and secular buildings. Studying a large number of samples from the Western Ukraine has allowed the author to single out major typological groups and names of roof tiles. It has to be mentioned that in the 15th century roof tiles for churches and the city hall in Lvov were produced by local potters, and later they were bought abroad. Only in the late 19th century they started manufacturing roof tiles thanks to a renowned Lvov architect, philanthropist and businessman Ivan Levinsky who founded a special factory. Together with enterprises from Kolomyia, Drohobych and other cities in Galicia, he supplied his production for setting up roofs of various types. Types of roof tiles are determined by the technology, raw stuff, shape and functions. The color of roof tiles depends on the composition of clay and the method of its burning, so it differs from light yellow to red and black. The roof tiles were sometimes covered with tar, engobing or glazing. Some roof tiles have the stamped inscriptions in Latin or Cyrillic letters indicating the place of production or the name of the enterprise’s owner. The given article provides some examples of secular and household buildings of the late 19th c. with roof tiles that were discovered during the author’s trips and expeditions in the early 21st century.
HISTORY OF SCIENCE. INTERDSCIPLINARY STUDIES
The artistic universe of Veronica Coteleva Toma: between tradition and contemporary sensitivity
The article analyzes the creativity of Veronica Coteleva Toma against the background of the artistic transformations that took place in the Republic of Moldova after the 1990s, a period during which the art scene opened up to stylistic diversity and expressive freedom. Her artistic formation is grounded in a solid tradition of plastic arts, cultivated within the spirit of the national school of painting and enriched through a nuanced assimilation of European artistic values. In her oeuvre, the artist harmoniously merges the heritage of classical painting with a contemporary sensibility, giving rise to a visual poetics characterized by sincerity and refinement. Still lifes, rural landscapes, and feminine portraits serve as pretexts for a silent meditation on the beauty and transience of existence. Through a mature and introspective visual language, Veronica Coteleva Toma articulates an art of inner equilibrium, where the vibrancy of color and the controlled pictorial gesture unveil calm, distilled emotions. Her creation contributes significantly to the enrichment of the national cultural patrimony, asserting itself through authenticity, delicacy, and a restrained yet deeply resonant expressiveness.
„Genius loci” in the Moldavian ex-libris
This article explores the phenomenon of genius loci in the context of bookplates, examining the influence of historical, cultural, and mythological aspects on the formation of artistic ex-libris. It investigates the interaction between identity, place, and art, as well as the significance of memorial spaces in preserving cultural heritage. Viewing ex-libris through the lns of genius loci helps to establish its importance, while the interconnection of art, personality, and place creates a unique cultural layer that reflects the spirit of the era and contributes to the preservation of local identity. Today, an important task is to draw attention to the role of ex-libris in the cultural history of the city. This will not only help preserve the traditions of miniature graphics but also integrate them into new artistic and research formats. The example of the “A.S. Pushkin” House-Museum in Chișinău demonstrates how memorial spaces serve as focal points for ex-libris artists, inspiring them to create valuable works. The concept of genius loci, associated with places of memory and their artistic interpretation, can serve as a foundation for interdisciplinary projects that unite art, history, urban studies, and museology.
Schneer Kogan as the first director of the Kishinev Art School
The article is dedicated to the Moldavian artist and teacher Schneer Hertzovich Kogan (1872-1940), who was the first director of the Kishinev Art School, founded by his senior colleague Vladimir Fulgentievich Okushko (1862-1919) on the basis of the City Drawing School. His contribution to both art education and the fine arts of our region is no less significant than that was done by his colleagues Joseph Stepankosky, Nikolai Golynsky, Terenty Zubkov, Vasily Blinov, Vladimir Okushko, Vasily Tarasov, Auguste Baillayre, Alexandru Plamadeala and others. Born in Orheyev, then he managed to visit many major cultural centers, where he became acquainted with the most advanced achievements of the time in the field of art. After studying in Odessa and Munich, he worked for long period in Königsberg, Tel-Aviv and Istanbul. In the interwar years, Sh. Kogan, unlike many of his colleagues very successfully combined creative work with pedagogical activities, leaving behind a whole constellation of talented disciples.
Architectural education as a regional phenomenon in the North-Western Germany: Karlsruhe, Darmstadt and Hamburg in the 19th century
This study is devoted to a comparative analysis of architectural education in the 19th century, focusing on three major centers in the North-Western Germany such as the architectural schools of Karlsruhe, Darmstadt, and Hamburg. These cities were selected due to their significance as the largest regional educational institutions of the period, as well as for the differences in their institutional structures, pedagogical approaches, and levels of involvement in urban and social development processes. The research examines the formation and evolution of architectural schools, key stages of institutionalization, and the influence of leading educators and methodological approaches. Particular attention is paid to the balance between technical and artistic components in the curriculum and the response of architectural education to industrialization and urbanization. The Karlsruhe school is analyzed as an early example of the polytechnical model; the Darmstadt school is as an engineering-oriented institution open to modernism; and the Hamburg school is as a case of applied architectural training closely connected to the city’s reconstruction. The study demonstrates how architectural schools helped define professional standards while reflecting regional and social realities. Also it proves the comparative overview highlights key parameters such as an institutional structure, teaching methods, participation in practical projects, and professional orientation. Ultimately, the research reveals the diversity of architectural education models in 19th-century Germany, shaped by regional context and cultural-political priorities.
Kilia’s sea horizons: the city and its prospects in Nikolaus Kleemann’s engraving Kilianova
The publication analyses Nikolaus Kleemann’s 18th-century engraving Kilianova, depicting a view of the fortress of Kilia. The author of this article focuses on interpreting the engraving as a visual text. The article emphasizes that historical studies have used the engraving without considering its symbolic content. Special attention is paid to the staffage, compositional techniques and conscious distortions undertaken by the author of the engraving. The author proves in the article that Kilianova engraving is a valuable historical source that enables not only the reconstruction of the lost image of Kilia of the XVIII century but also an understanding of the perceptions of Europeans about the region, as well as the peculiarities of perception and interpretation of what the traveler saw. The work offers us a deeper and more comprehensive analysis of the symbolic content of artworks in historical research.
Hieromonk-painter Anatoli Zdoichevski (1749-1827), citizen of the commonwealth of Poland (Rech’ Pospolitaya), Moldova and the Russian Empire
Crises have always mobilized communities and individuals to unity and creativity, and much more extraordinary situations have stimulated individual creative souls. Exactly such conditions of war and confessional persecution were in full swing at the end of the 18th century and the beginning of the 19th century, both in Moldova and in the Polish Podolia. During this period, it was up to the young painter Anatoli Zdoichevski to realize himself. Born and educated in the town of Shargorod, after the death of his father, he crossed the Dniester to Moldova; where after the disasters left by the Russian-Turkish war of 1768-1774 he found a suitable space to realize himself in the iconographic art. It was also here, in his new homeland, being an exponent of the priestly order, at the insistence of the community from Cineşeuţi, that he was encouraged to receive the ordination as a priest. The consequences of the Russian-Turkish war of 1787-1792 made him return to Poland, and then settle in the Khan’s Ukraine. The premature death of his wife led the iconographer-priest to return to Moldova, where he received the monastic robe. His creative soul didn’t allow him to follow the obedience all the time, challenging him to the new artistic achievements. His iconographic activity formed, together with other creators, an artistic concept that left its deep traces in the iconographic art of Moldova.
An ancient megalithic monument near Chisinau. „Arrayed stones” of the Bâc River valley
By the end of the 19th century, a remarkable historical monument stood northwest of the city of Chisinau, – a row of menhirs, i.e. a series/row of large stone blocks vertically fixed in the ground. These menhirs were situated near a once well-known geographical landmark located in the valley of the Bâc River, known as the Cheile Bâcului (Bâc Gorges). For over three centuries, the menhirs and the Bâc Gorges have been mentioned, described, and analyzed in terms of their provenance and significance in the works and notes of various researchers, travelers, writers and amateurs of “antiquities”. The purpose of this study is to gather and examine all the accumulated data about these landmarks (including previously unused sources), to determine their location on the topographic map, asses their geographical context, clarify their dimensions, specify when and under what circumstances they were destroyed.
Architecture of Spiritual Educational Complexes
In the modern world the issue of finding mechanisms for interaction between different religions, increasing the level of tolerance and tolerance towards representatives of other cultures is becoming increasingly relevant and necessary. Strengthening intercultural and interreligious ties will help avoid many conflicts. In this regard, the issue of forming modern spiritual educational complexes with a comfortable multicultural environment for the preparation of tolerant, highly educated public and religious figures is extremely relevant. The purpose of this study is to develop recommendations regarding the design of spiritual and educational complexes for representatives of various religions of the world. To conduct the study, theoretical and empirical methods were used (method of comparative analysis, field survey and experimental design). As a result of the study, scientific principles for designing a spiritual and educational complex for representatives of various religions to obtain various levels of education were formulated: from primary to higher spiritual education. A functional analysis of the modern spiritual complex was carried out and the necessary composition of premises was proposed to ensure comprehensive education, as well as intellectual and spiritual development. The use of developed and proposed scientific principles for the design of modern spiritual complexes will contribute to the formation of a harmonious multicultural environment, as well as increasing religious tolerance in society, achieving cultural and religious unity, reducing the level of aggression and intolerance.
Museum pedagogy in the service of cultivating the aesthetic culture of studious youth
Museum pedagogy plays a significant role in shaping the aesthetic culture of diligent youth by creating innovative environments for research, learning, and deepening knowledge in various fields such as history, culture, science, and art. This paper represents a theoretical and applied study focused on the utilization of museum resources and cultural heritage in the process of cultivating the aesthetic sensibility of the younger generation. The purpose of the research lies in conceptualizing the development of the aesthetic culture of architecture and design students through the integration of pedagogical principles and methods specific to museum education, adapted to contemporary socio-cultural realities, aimed at enhancing aesthetic culturalization and improving their academic performance. The article briefly presents some perspectives of researchers: C. Cucoș, T. Filipski, A. Munteanu, M. Yukhnevich, etc. regarding the aesthetic sensitization of architecture and design students in the context of cultural heritage utilization. Additionally, a set of museum education pedagogical strategies is proposed, applicable within universities with an artistic profile and oriented toward the optimal exploitation of the educational potential of museums in the process of developing the aesthetic culture of architecture and design students. Furthermore, examples of good educational practices are presented, highlighting the importance of museums in developing the artistic and cultural competences of architecture and design students by providing opportunities for their involvement in projects of restoration, conservation, revitalization, and rehabilitation of historical monuments and cultural assets, thereby contributing to the protection and promotion of artistic and architectural values, as well as to the consolidation of professional awareness and cultural responsibility.
Definition of an architectural work in the Polish law – outline of the problem based on selected court judgements
The aim of this article is to present the problem of defining the concept of architectural work in Polish law. The Act of 4 February 1994 referring to copyright and related rights does not contain a statutory definition of an architectural work, which causes great difficulties. The views presented in the literature by the scientific community seem to be helpful in solving this definitional problem. However, the interpretation of the law by the courts is important. The jurisprudence has a direct impact on the development of specific rights of creators (architects). The investigation of copyright infringement cases often begins with determining whether a given work or its elements are an architectural work. The text presents the judgments of Polish District Courts, Courts of Appeal, but also of the Supreme Court.
Traditional ethnic motifs in the artwork of the painter Eleonora Romanescu
The paintings signed by artist Eleonora Romanescu are an integral part of the cultural and artistic heritage of the Republic of Moldova. Her work provides a vivid example of the harmonious blending of traditional Moldovan culture with contemporaneous artistic language. In her works the connection to folk motifs is deeply felt, highlighted through decorative elements, a rich color palette, and compositional solutions inspired by nature and the cultural traditions of her native land. By addressing themes such as rural life, portraits, landscapes, and still life, Eleonora Romanescu delicately emphasizes the aesthetic and spiritual values of the Moldovan people. This study examines the particularities of the artist’s use of traditional motifs, their symbolic meaning, and their role in shaping national identity and individual artistic style. Eleonora Romanescu’s artwork explores the beauty of Moldovan landscapes and nature through intimate and individual visions, being closely connected to the identity and history of the Republic of Moldova, establishing a dialogue between the tradition of the past and the country’s artistic present.
Importance of stylistic implementations in the genre of nude in the works of sculptors of the Republic of Moldova
Nude sculpture established itself as an autonomous genre in the national art lately, only in the first decades of the 20th century. Alexandru Plamadeala interprets nude in a complex manner, stylistically varying between romanticism, realism and modernism, absorbing the Western and Russian trends. Moisei Cogan in his creativity tends to eclecticism and modernism. Lazăr Dubinovschi is inspired by the works of Emile Antoine Bourdelle. Iosif Cheptănaru interprets nude at the intersection of cultures. The creative activity of Iurie Canaşin has a conceptual beginning in the overall development of world art. Constantin C. Constantinov interprets psychological aspects in nude. Ion Bolocan reduces the stylized and generalized form to a laconic image. Ioan Grecu retualizes the world’s artistic heritage. Dumitru Verdianu searches for the internal psychological “balance” in his compositions. Grigore Sultan creates the internal logic in his nudes. Ion Zderciuc advocates the internal bipolar harmony in his images of couples in love. The perception of the theoretical and practical achievements of the great European masters practicing modernism and eclecticism became the inicial point for the sculptors of the Republic of Moldova, who always interpret nudes in an original and inspired way.
Cultural Houses: from the beginnings to the cantonization in contemporaneous times
The institution of the cultural home began to take shape in Bessarabia during the interwar period, following the reunification of the historic Romanian province with Greater Romania. Its establishment stemmed from the urgent need to eradicate illiteracy and promote cultural development in rural areas after World War I. Initially, most cultural homes operated in repurposed buildings, but over time, local authorities increasingly prioritized the construction of new, purpose-built structures. After the political regime changed, communist activists placed even greater emphasis on the role of these institutions in village life. The first post-war decade was marked by a classical architectural style, but from the late 1960s onward, the design of Houses of culture became almost entirely standardized. To add distinction, mosaics were incorporated into the facades. Recognized for their cultural value, Houses of culture require protection. Having endured for over half a century – surviving acts of vandalism in the 1990s as well as the threats of severe weather and natural disasters – they now face a new challenge as the capital repairs.
Representations of rural and urban interior in Moldovan painting of the 1980s
In the 1980s, Moldovan painting reflected the social and cultural transformations of the period through a rediscovery of national identity. Artists gradually moved away from socialist realism, incorporating elements of symbolism, expressionism and stylization. Rural and urban interiors became frequent subjects, capturing everyday life and traditional values. In the works of artists such as Ion Jumati, Elena Bontea, Dimităr Peicev, Mihai Statnîi, Tudor Zbârnea, Iurie Platon and Valentina Brâncoveanu, native motifs as folk textiles, rustic furniture, flowers and household objects were reinterpreted in a personal style. These compositions go beyond a documentary function, expressing a deep connection to the past and national culture. Thus, painting becomes a means of identity reaffirmation, integrating traditional symbols into a modern artistic language.
The universal and national values of eminescian creativity reflected in the national graphics from the Republic of Moldova
In the context of declaring 2025 as the year dedicated to the celebration of Mihai Eminescu’s personality, we come to honor the great national poet through the prism of the artistic creation of the authors from the Republic of Moldova. The image and creativity of Mihai Eminescu have been reflected many times in various fields and genres of the arts. The creative activity of the great poet has inspired an impressive number of creators who created literary, musical and theatrical, cinematographic and plastic art. We find eminescian echoes in the creation of painters, sculptors and graphic artists, the latter manifesting a particular predilection confirmed by the impressive number of graphic works. With the objective of highlighting the universal and national values of the eminescian creativity, we will reflect the significance of these acquirements in making of Moldovan graphic artists. We follow the universe of eminescian creation in all spheres of social life, addressing the entire issue of human and universal existence. Thus, the artists combined the illustration of the eminescian creative activity with their own visions of the most beautiful manifestations of human spirituality.
The Genesis of Form in Ion Daghi’s Vision: an Exploration of the Creative Process
Ion Daghi (1936-2022) was a remarkable plastic artist and pedagogue from the Republic of Moldova, with an impressive artistic and academic career. His education at the Republican School of Fine Arts in Chișinău and the Kharkiv Academy of Art and Design followed by obtaining a doctorate in pedagogy (1990), provided him with a solid foundation to develop a unique vision of art. His artistic debut in 1967, followed by numerous personal and group exhibitions, as well as the realization of significant artistic works, consolidated his status as a renowned artist. In parallel with his artistic activity, Daghi significantly contributed to the development of the methodology of teaching fine arts, publishing numerous theoretical works and participating in various scientific events. In this article, we propose to explore Ion Daghi’s creative universe, focusing on the genesis of forms, an essential process in creation, as analyzed in his writings, and on the transformation of inspiration into visual form. This analysis offers a valuable perspective on the artist’s role as a visual creator, and the research presented illustrates the transposition of abstract ideas into tangible forms, providing a better understanding of the creative process.
Redesign of the urban environment of Poltava (Ukraine) 1991–2025
This study examines the transformation of Poltava’s urban exterior from 1991 to 2025, focusing on the sculptural monuments and their impact on the city’s artistic identity. It analyzes the 19th and 20th century’s context, where monuments were integral to the imperial classicist city’s ideological framework. The urban exterior on the eve of 1991 is characterized as a dichotomy between the Russian imperial militaristic culture and the Ukrainian national heritage. This study identifies the factors influencing on the thematic and placement of modern monuments, classifies them by the theme, location, and artistic quality, and explores the cultural shifts resulting from the addition of modern monuments and the removal of historical ones over the past 34 years. The research highlights the redesign efforts that corrected the ideological bias and balanced the urban exterior. It concludes that Poltava’s artistic identity has shifted positively towards a Ukrainian-centered culture and local history, free from the remnants of its dependent past, and identifies future directions for public art in the city’s ongoing redesign.
Satirical graphics in the creation of the plastic artist Ilia Bogdesco
A distinct place among the satirical graphic artists from the Republic of Moldova belongs to the plastic artist Ilia Bogdesco (1923-2010). The artist writes an important page in the history of national visual arts, including the creation of multiple humorous-satirical sheets that were presented to the general public both on the pages of the satire and humor magazine Chipăruş and in the art exhibitions. With a special predilection for book graphics and calligraphy, Ilia Bogdesco nevertheless created satirical sheets over the years that fit into the distinctive categories of satirical graphics called a social or a domestic caricature. Through his works, the artist contributed to the satirization and whipping of the unworthy habits of the human being. These are presented artistically through laconic compositions, in which the rhythm, form, and exaggeration of the figurative and the details are practiced through grotesque outlines, symbols, and plastic allegories that favor the promotion of educational messages. Experimenting with a wide spectrum of plastic means, Ilia Bogdesco artistically represents satirical valences directed against bureaucracy, gossip, flattery, greed, and other human vices. Mostly, the satirical sheets made by the plastic artist are executed in watercolor or ink. In total, the creation of the plastic artist Ilia Bogdesco in the field of satirical graphics fits organically into the thematic, semantic, and aesthetic peculiarities of the period in which they were created, and through his humorous-satirical works, he brought the contribution to the valorization of satirical graphics as well book and easel graphics practiced by the graphic artist during his artistic career.
The National Archive of Moldova and the Priorities of Public Procurement of works of art between 1944-1962
The National Museum of Art of Moldova holds one of the most important collections of our artistic heritage. With national and European works of art totaling over 39 thousand exhibits, excluding those lost during the Second World War, their value is inestimable. The history of these collections established during the existence of the Moldavian SSR was at the origin of some Soviet myths, according to which the Hermitage, the Pushkin Museum or the Russian Museum and the Tretyakov Gallery made generous donations for the founding of the art museum in Chisinau. However, the real situation was completely different. We discover this discrepancy by studying the documents of the Fund No. 2939 of the National Archive of Moldova, which contains the files of the State Art Museum of the MSSR for the years 1944-1962 and 1962-1972, with numerous minutes of acquisitions or donations. These documents allow us to understand how and why a hybrid form of propaganda was resorted to, resulting from the disinformation policy that the Soviet institutions carried out on the territory of the former interwar Bessarabia. They demonstrate and dismantle, with luxury and detail, the methods of telling half-true and half-false truths, which abolish the existence of these myths.