A room in Casa Hogas Print

A watercolor artwork inspired by the interiors of Hogas Museum in Piatra-Neamt. Part of a series of 9 watercolors ment to be published as postcards for the Hogas Museum. A work in progress. Literature: Emil Nicolae, "Dumitru D. Bostan-The place and the Journey", Piatra-Neamt, 2014, p. 72, illustrated. An art book with 105 illustrations of the original artworks. Exhibited: “Memories from House Hogas”, watercolor exhibition, (outdoors), 12 artworks, Hogas Museum, Piatra-Neamt, 2000. “It is a well-known (and therefore often envied or imitated) thing: the artist is the most free creature on the planet. At the same time, there is one thing as well hidden: the artist is the prisoner of his own work. A supportive contradiction, it would be said, how long it is perceived from the outside. But when we look down and discover that the opera is not a simulation but a consequence of destiny, we realize that the artist's "freedom" closes in significant quotation marks! Because working as a destiny involves rigor, and renunciations, and limitations, and hesitations, etc. Not exactly comfortable. It's like a wonderful plant that stimulates exhausting effusions precisely because it has grown under the tension of a value formwork. At Dumitru D. Bostan all this means either the escape into the landscape with all the artist's imagination for the imaginary city, or the introduction of a cold chromatic counterpoint in spite of the dominant warm background or the insistence on a detail even in the development of a integrative vision (composition) integrative, or a respite assumed in watercolor or conté even under the technical pressure of oil, and so on. Opera therefore implies preserving the inner coherence of the original "project" of the subliminal matrix of free and diversified expression”. And above all, and with all these things, quality matters. Here is what is to be found in the album of the painter Dumitru D. Bostan. Emil Nicolae As a lover of stylistic rigor and lover of clear, well-defined and balanced forms, according to traditional canons, Calistrat Hogaş probably wanted an immortalisation of his home in Piatra-Neamt or the museum, which later became in pasty oils and definitive. At least this is the result of the prose work he left us, but also of the poetic notes left in a "Souvenir album": I'm staring with the gaze in the garden alone / Through the rare acacia in the leaves blowing the winter crystals ... / Long looking and sad with my head lying on my hand / Looking at the broken leaves shattered by the storm. " Only, over time, history acquires nuances and suggests interpretations. That is, it turns into support and opportunity for the kind of other "histories", sometimes expressed pictorially. And Dumitru D. Bostan found it appropriate that the transparency and fluidity of the watercolor can render in a more convincing way his story, obviously - subjective, about the house of the Master Calistrat. This is the method our artist uses to design a suite of second-degree "memories," mirrored in an event already set in memory. Emil Nicolae There is in any painter an uneasiness of a serious reflexivity in trying to discover new realms for his art. Conquering them leads to adequate expression, to the means necessary for their taking possession. Apart from some recurring themes and means, I delayed more on the interiors where doors and stairs are highlighted. The exhibited paintings treats these "objects". In a colorful scholarly pennant, a large window door that gives to the green of the outside garden transmits a pleasant and restful coolness, a feeling of silence and silence in a time that has stopped. The two-leaf door, preceded by two open doors adorned with red-cardinal velvet, tied up with a cord to allow passage of guests to arrive. Celebrate, patinated atmosphere. The door open to a hallway where you can see the steps of a staircase that climbs and guess right down the stairs that descend. Soberness of colors invites you to speak in a whisper. A straight ladder with a forward hand leads you to an undefined "up". A coat hanger beside the stairs, empty. No clothes, no umbrella, no hat. There is someone's absence. The green door in front with an ocher-white mosaic. What happened in the living room? It sounds like a rumor of voices. A "en colimaçon" ladder with violet steps and red faces. Green walls. What promises does that bold staircase do? What's the secret of hiding the front door? But this staggered and twisted ladder? Doors and stairs, stairs and doors that open and close, accompanying us with a silent night. Dumitru Bostan's doors and stairs reach symbolic values. Doors and stairs are not just what they are. They invite meditation, ask for the viewer's participation and the intuition of the states the artist had when he made his work. It is not a matter of deciphering stories but of establishing a continuous dialogue with the opera, of asking disturbing questions about a habitat, of living space in which a life whose adventure is the age and the mystery unfolds. Eduard Covali “Ceahlăul” August 2000 Memories from House Hogas", a private series of 12 folders signed by the author, with 9 printed postcards after original watercolors inspired by the interiors of The Hogas Museum and with a text by Emil Nicolae, Piatra-Neamt, 2000.

Print:Giclee on Fine Art Paper

Size:8 W x 12 H x 0.1 D in

Size with Frame:13.25 W x 17.25 H x 1.2 D in

Delivery Time:Typically 5-7 business days for domestic shipments, 10-14 business days for international shipments.