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A house yard in Piatra-Neamt. An oil on canvas painting. The artwork is now in the collection of the Art Museum from Iasi, Romania. Literature: Emil Nicolae, "Dumitru D. Bostan-The place and the Journey", Piatra-Neamt, 2014, p. 43, illustrated. An art book with 105 illustrations of the original artworks. The theme dominates the landscape, which is the constant concern of the artist in recent years. We can say that, step by step (even if we take into account his travels), he has built an imagistic universe that balances between land and water, between "up" and "down," between the "full glory" and "Full empty" (not necessarily between "empty" and "full"!). We already have two axes of this universe, consolidated in previous exhibitions, which are based on three main coordinates: Piatra-Neamt, Biarritz and Venice. Now Dumitru D. Bostan adds a third axis and a fourth coordinate: Piatra-Neamţ-Balcic (where he spoke and worked in June last). It is remarkable that Piatra-Neamţ remains a constant in this artistic prelude / investigation, a sort of counterweight that has to balance and guide the dynamics of the plastic vision and which could, for example, be reflected (as in a Ideal panopticum) in the "mirrors" of exotic images, if the painter gathers together all of the "notation" of the book. Here is a way to look at Dumitru D. Bostan's exhibition, in which not only the local matrix of "figuration" matters, but the filtering of the atmosphere, of the feeling, of the existential spring, as well as the exercise / technique of fixing them in the chromatic and the construction of paintings. Emil Nicolae “Realitatea”, Monday, June 19, 2010
A house yard in Piatra-Neamt. An oil on canvas painting. The artwork is now in the collection of the Art Museum from Iasi, Romania. Literature: Emil Nicolae, "Dumitru D. Bostan-The place and the Journey", Piatra-Neamt, 2014, p. 43, illustrated. An art book with 105 illustrations of the original artworks. The theme dominates the landscape, which is the constant concern of the artist in recent years. We can say that, step by step (even if we take into account his travels), he has built an imagistic universe that balances between land and water, between "up" and "down," between the "full glory" and "Full empty" (not necessarily between "empty" and "full"!). We already have two axes of this universe, consolidated in previous exhibitions, which are based on three main coordinates: Piatra-Neamt, Biarritz and Venice. Now Dumitru D. Bostan adds a third axis and a fourth coordinate: Piatra-Neamţ-Balcic (where he spoke and worked in June last). It is remarkable that Piatra-Neamţ remains a constant in this artistic prelude / investigation, a sort of counterweight that has to balance and guide the dynamics of the plastic vision and which could, for example, be reflected (as in a Ideal panopticum) in the "mirrors" of exotic images, if the painter gathers together all of the "notation" of the book. Here is a way to look at Dumitru D. Bostan's exhibition, in which not only the local matrix of "figuration" matters, but the filtering of the atmosphere, of the feeling, of the existential spring, as well as the exercise / technique of fixing them in the chromatic and the construction of paintings. Emil Nicolae “Realitatea”, Monday, June 19, 2010
A house yard in Piatra-Neamt. An oil on canvas painting. The artwork is now in the collection of the Art Museum from Iasi, Romania. Literature: Emil Nicolae, "Dumitru D. Bostan-The place and the Journey", Piatra-Neamt, 2014, p. 43, illustrated. An art book with 105 illustrations of the original artworks. The theme dominates the landscape, which is the constant concern of the artist in recent years. We can say that, step by step (even if we take into account his travels), he has built an imagistic universe that balances between land and water, between "up" and "down," between the "full glory" and "Full empty" (not necessarily between "empty" and "full"!). We already have two axes of this universe, consolidated in previous exhibitions, which are based on three main coordinates: Piatra-Neamt, Biarritz and Venice. Now Dumitru D. Bostan adds a third axis and a fourth coordinate: Piatra-Neamţ-Balcic (where he spoke and worked in June last). It is remarkable that Piatra-Neamţ remains a constant in this artistic prelude / investigation, a sort of counterweight that has to balance and guide the dynamics of the plastic vision and which could, for example, be reflected (as in a Ideal panopticum) in the "mirrors" of exotic images, if the painter gathers together all of the "notation" of the book. Here is a way to look at Dumitru D. Bostan's exhibition, in which not only the local matrix of "figuration" matters, but the filtering of the atmosphere, of the feeling, of the existential spring, as well as the exercise / technique of fixing them in the chromatic and the construction of paintings. Emil Nicolae “Realitatea”, Monday, June 19, 2010
A house yard in Piatra-Neamt. An oil on canvas painting. The artwork is now in the collection of the Art Museum from Iasi, Romania. Literature: Emil Nicolae, "Dumitru D. Bostan-The place and the Journey", Piatra-Neamt, 2014, p. 43, illustrated. An art book with 105 illustrations of the original artworks. The theme dominates the landscape, which is the constant concern of the artist in recent years. We can say that, step by step (even if we take into account his travels), he has built an imagistic universe that balances between land and water, between "up" and "down," between the "full glory" and "Full empty" (not necessarily between "empty" and "full"!). We already have two axes of this universe, consolidated in previous exhibitions, which are based on three main coordinates: Piatra-Neamt, Biarritz and Venice. Now Dumitru D. Bostan adds a third axis and a fourth coordinate: Piatra-Neamţ-Balcic (where he spoke and worked in June last). It is remarkable that Piatra-Neamţ remains a constant in this artistic prelude / investigation, a sort of counterweight that has to balance and guide the dynamics of the plastic vision and which could, for example, be reflected (as in a Ideal panopticum) in the "mirrors" of exotic images, if the painter gathers together all of the "notation" of the book. Here is a way to look at Dumitru D. Bostan's exhibition, in which not only the local matrix of "figuration" matters, but the filtering of the atmosphere, of the feeling, of the existential spring, as well as the exercise / technique of fixing them in the chromatic and the construction of paintings. Emil Nicolae “Realitatea”, Monday, June 19, 2010
A house yard in Piatra-Neamt. An oil on canvas painting. The artwork is now in the collection of the Art Museum from Iasi, Romania. Literature: Emil Nicolae, "Dumitru D. Bostan-The place and the Journey", Piatra-Neamt, 2014, p. 43, illustrated. An art book with 105 illustrations of the original artworks. The theme dominates the landscape, which is the constant concern of the artist in recent years. We can say that, step by step (even if we take into account his travels), he has built an imagistic universe that balances between land and water, between "up" and "down," between the "full glory" and "Full empty" (not necessarily between "empty" and "full"!). We already have two axes of this universe, consolidated in previous exhibitions, which are based on three main coordinates: Piatra-Neamt, Biarritz and Venice. Now Dumitru D. Bostan adds a third axis and a fourth coordinate: Piatra-Neamţ-Balcic (where he spoke and worked in June last). It is remarkable that Piatra-Neamţ remains a constant in this artistic prelude / investigation, a sort of counterweight that has to balance and guide the dynamics of the plastic vision and which could, for example, be reflected (as in a Ideal panopticum) in the "mirrors" of exotic images, if the painter gathers together all of the "notation" of the book. Here is a way to look at Dumitru D. Bostan's exhibition, in which not only the local matrix of "figuration" matters, but the filtering of the atmosphere, of the feeling, of the existential spring, as well as the exercise / technique of fixing them in the chromatic and the construction of paintings. Emil Nicolae “Realitatea”, Monday, June 19, 2010
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A house yard in Piatra-Neamt Painting

Dumitru Bostan Junior

Romania

Painting, Oil on Canvas

Size: 7.8 W x 9.8 H x 2 D in

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About The Artwork

A house yard in Piatra-Neamt. An oil on canvas painting. The artwork is now in the collection of the Art Museum from Iasi, Romania. Literature: Emil Nicolae, "Dumitru D. Bostan-The place and the Journey", Piatra-Neamt, 2014, p. 43, illustrated. An art book with 105 illustrations of the original artworks. The theme dominates the landscape, which is the constant concern of the artist in recent years. We can say that, step by step (even if we take into account his travels), he has built an imagistic universe that balances between land and water, between "up" and "down," between the "full glory" and "Full empty" (not necessarily between "empty" and "full"!). We already have two axes of this universe, consolidated in previous exhibitions, which are based on three main coordinates: Piatra-Neamt, Biarritz and Venice. Now Dumitru D. Bostan adds a third axis and a fourth coordinate: Piatra-Neamţ-Balcic (where he spoke and worked in June last). It is remarkable that Piatra-Neamţ remains a constant in this artistic prelude / investigation, a sort of counterweight that has to balance and guide the dynamics of the plastic vision and which could, for example, be reflected (as in a Ideal panopticum) in the "mirrors" of exotic images, if the painter gathers together all of the "notation" of the book. Here is a way to look at Dumitru D. Bostan's exhibition, in which not only the local matrix of "figuration" matters, but the filtering of the atmosphere, of the feeling, of the existential spring, as well as the exercise / technique of fixing them in the chromatic and the construction of paintings. Emil Nicolae “Realitatea”, Monday, June 19, 2010

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Painting:Oil on Canvas

Original:One-of-a-kind Artwork

Size:7.8 W x 9.8 H x 2 D in

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Dumitru D. Bostan was born on the 27th of November 1962 in Piatra-Neamt, Romania. Graduate the Institute of Fine Arts in Bucharest in 1986, specialized in monumental art and mural painting restoration. Member of The Romanian Union of Artists. Individual and collective exhibitions: Personal exhibitions, “Lascar Vorel” Gallery, Piatra-Neamt, Romania, 1995-2011. The National Graphic Show, Bucharest, Romania, 1996. The Art Biennial Exhibition, Piatra-Neamt, Romania,1997-2011. Kunstschow Westerschowen, “Galerie Geluk”, Burgh Haamstede-Holland, 1998. Group exhibitions at the “Apollo and “Artis” Gallery, National Theatre, Bucharest, 2004, 2006, 2007. Personal exhibition at the United Nations Center, Bucharest, 2005. The National Art Show, Bucharest, Romania, 2006. Group exhibition, “Confluences” at the “Artimundo” Gallery, Bruxelles, 2008. Group exhibition at the Romanian Institute of Culture and Humanistic Research-Venice, 2010. Personal exhibition at “Ana“ Gallery-Bucharest. Group exhibition The Brukenthal Museum-Sibiu, 2014. Collective exhibition at “Saloanele Astrei“-Sibiu. Personal exhibition at the Piatra-Neamț Art Museum. Collective exhibition at the Bucovina Museum-Suceava, 2017, Group exhibition, „Ion Irimescu Museum”, Fălticeni; (2018); Group exhibition „Bucovina Museum”, Suceava; (2019); Group exhibition, „Iași Art Museum”; (2019); Group exhibition, „Piatra-Neamț Art Museum” (2019); Author of the illustrations of the art book “Biarritz, si loin si proche” by Florence Sturm Borderie and Dumitru Bostan Jr., Atlantica-Seguier Publishing House, Biarritz, France, 2003. Wins the prise for graphics at the Art Biennial, Piatra-Neamt, Romania, 2009. Represented with paintings in the Piatra-Neamt Art Museum, Romania. Artworks in private collections from Romania, USA, France, Germany, Italy, Israel, Holland. Presence in the “Romanian artists encyclopedia” by Vasile Florea, (ARC 2000 Publishing House, Bucharest, 2004), “A century of fine arts in Moldova” and “The Illustrated Dictionary of Fine Arts from Moldova” by Valentin Ciuca, Art XXI Publishing House, 2009-2011. "Dumitru Bostan Jr. isn’t content just to skillfully record, but processes the subject, plasticizes it, until he absorbs it in the rhythm of his own language.

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