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Inspired by a sojourn in Venice in 2010. This work is a part of a series of paintings with this subject. Literature: Emil Nicolae, "Dumitru D. Bostan-The place and the Journey", Piatra-Neamt, 2014, p. 57, illustrated. An art book with 105 illustrations of the original artworks. "A recent exhibition, opened with his colleagues, helped to reunite with Dumitru D. Bostan, a monumental painter through an academic formation. He drew attention through the light, unconventional air through which he glossed over an old and new topos, Venice. The painter, of course, has a polemic vocation and, anyway, an attitude that excludes the worn-out, worn-out image of a place entered into collective memory, particularly through the picturesque view of the commercials on the banks of the Grand Canal. The artist's attitude, rebellious, keeps the architectural, fabulous design data, of course, but it reduces to the limit the manipulation of a picturesque place that has become a common place. His artistic personality obliges him to some kind of circumspection with the already vu and remarked plastic areas as interesting as not necessarily famous. He has the knowledge of the significant cut, so the Venice segments are nothing but details that can figure out about the whole. Thus, the viewer is tempted to mentally reconstitute the ensemble and to become a favored partner temporarily. The chromatism within the limits of local color relies on the recuperating effect through the memory of a glorious reality sometime, whose death is always announced and always delayed for never ..." Valentin Ciucă, A century of fine arts in Moldova, ART XXI Publishing House, Iaşi 2009.
Inspired by a sojourn in Venice in 2010. This work is a part of a series of paintings with this subject. Literature: Emil Nicolae, "Dumitru D. Bostan-The place and the Journey", Piatra-Neamt, 2014, p. 57, illustrated. An art book with 105 illustrations of the original artworks. "A recent exhibition, opened with his colleagues, helped to reunite with Dumitru D. Bostan, a monumental painter through an academic formation. He drew attention through the light, unconventional air through which he glossed over an old and new topos, Venice. The painter, of course, has a polemic vocation and, anyway, an attitude that excludes the worn-out, worn-out image of a place entered into collective memory, particularly through the picturesque view of the commercials on the banks of the Grand Canal. The artist's attitude, rebellious, keeps the architectural, fabulous design data, of course, but it reduces to the limit the manipulation of a picturesque place that has become a common place. His artistic personality obliges him to some kind of circumspection with the already vu and remarked plastic areas as interesting as not necessarily famous. He has the knowledge of the significant cut, so the Venice segments are nothing but details that can figure out about the whole. Thus, the viewer is tempted to mentally reconstitute the ensemble and to become a favored partner temporarily. The chromatism within the limits of local color relies on the recuperating effect through the memory of a glorious reality sometime, whose death is always announced and always delayed for never ..." Valentin Ciucă, A century of fine arts in Moldova, ART XXI Publishing House, Iaşi 2009.
Inspired by a sojourn in Venice in 2010. This work is a part of a series of paintings with this subject. Literature: Emil Nicolae, "Dumitru D. Bostan-The place and the Journey", Piatra-Neamt, 2014, p. 57, illustrated. An art book with 105 illustrations of the original artworks. "A recent exhibition, opened with his colleagues, helped to reunite with Dumitru D. Bostan, a monumental painter through an academic formation. He drew attention through the light, unconventional air through which he glossed over an old and new topos, Venice. The painter, of course, has a polemic vocation and, anyway, an attitude that excludes the worn-out, worn-out image of a place entered into collective memory, particularly through the picturesque view of the commercials on the banks of the Grand Canal. The artist's attitude, rebellious, keeps the architectural, fabulous design data, of course, but it reduces to the limit the manipulation of a picturesque place that has become a common place. His artistic personality obliges him to some kind of circumspection with the already vu and remarked plastic areas as interesting as not necessarily famous. He has the knowledge of the significant cut, so the Venice segments are nothing but details that can figure out about the whole. Thus, the viewer is tempted to mentally reconstitute the ensemble and to become a favored partner temporarily. The chromatism within the limits of local color relies on the recuperating effect through the memory of a glorious reality sometime, whose death is always announced and always delayed for never ..." Valentin Ciucă, A century of fine arts in Moldova, ART XXI Publishing House, Iaşi 2009.
Inspired by a sojourn in Venice in 2010. This work is a part of a series of paintings with this subject. Literature: Emil Nicolae, "Dumitru D. Bostan-The place and the Journey", Piatra-Neamt, 2014, p. 57, illustrated. An art book with 105 illustrations of the original artworks. "A recent exhibition, opened with his colleagues, helped to reunite with Dumitru D. Bostan, a monumental painter through an academic formation. He drew attention through the light, unconventional air through which he glossed over an old and new topos, Venice. The painter, of course, has a polemic vocation and, anyway, an attitude that excludes the worn-out, worn-out image of a place entered into collective memory, particularly through the picturesque view of the commercials on the banks of the Grand Canal. The artist's attitude, rebellious, keeps the architectural, fabulous design data, of course, but it reduces to the limit the manipulation of a picturesque place that has become a common place. His artistic personality obliges him to some kind of circumspection with the already vu and remarked plastic areas as interesting as not necessarily famous. He has the knowledge of the significant cut, so the Venice segments are nothing but details that can figure out about the whole. Thus, the viewer is tempted to mentally reconstitute the ensemble and to become a favored partner temporarily. The chromatism within the limits of local color relies on the recuperating effect through the memory of a glorious reality sometime, whose death is always announced and always delayed for never ..." Valentin Ciucă, A century of fine arts in Moldova, ART XXI Publishing House, Iaşi 2009.
Inspired by a sojourn in Venice in 2010. This work is a part of a series of paintings with this subject. Literature: Emil Nicolae, "Dumitru D. Bostan-The place and the Journey", Piatra-Neamt, 2014, p. 57, illustrated. An art book with 105 illustrations of the original artworks. "A recent exhibition, opened with his colleagues, helped to reunite with Dumitru D. Bostan, a monumental painter through an academic formation. He drew attention through the light, unconventional air through which he glossed over an old and new topos, Venice. The painter, of course, has a polemic vocation and, anyway, an attitude that excludes the worn-out, worn-out image of a place entered into collective memory, particularly through the picturesque view of the commercials on the banks of the Grand Canal. The artist's attitude, rebellious, keeps the architectural, fabulous design data, of course, but it reduces to the limit the manipulation of a picturesque place that has become a common place. His artistic personality obliges him to some kind of circumspection with the already vu and remarked plastic areas as interesting as not necessarily famous. He has the knowledge of the significant cut, so the Venice segments are nothing but details that can figure out about the whole. Thus, the viewer is tempted to mentally reconstitute the ensemble and to become a favored partner temporarily. The chromatism within the limits of local color relies on the recuperating effect through the memory of a glorious reality sometime, whose death is always announced and always delayed for never ..." Valentin Ciucă, A century of fine arts in Moldova, ART XXI Publishing House, Iaşi 2009.

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Dumitru Bostan Junior

Romania

Painting, Watercolor on Glass

Size: 9 W x 12.5 H x 1 D in

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Inspired by a sojourn in Venice in 2010. This work is a part of a series of paintings with this subject. Literature: Emil Nicolae, "Dumitru D. Bostan-The place and the Journey", Piatra-Neamt, 2014, p. 57, illustrated. An art book with 105 illustrations of the original artworks. "A recent exhibition, opened with his colleagues, helped to reunite with Dumitru D. Bostan, a monumental painter through an academic formation. He drew attention through the light, unconventional air through which he glossed over an old and new topos, Venice. The painter, of course, has a polemic vocation and, anyway, an attitude that excludes the worn-out, worn-out image of a place entered into collective memory, particularly through the picturesque view of the commercials on the banks of the Grand Canal. The artist's attitude, rebellious, keeps the architectural, fabulous design data, of course, but it reduces to the limit the manipulation of a picturesque place that has become a common place. His artistic personality obliges him to some kind of circumspection with the already vu and remarked plastic areas as interesting as not necessarily famous. He has the knowledge of the significant cut, so the Venice segments are nothing but details that can figure out about the whole. Thus, the viewer is tempted to mentally reconstitute the ensemble and to become a favored partner temporarily. The chromatism within the limits of local color relies on the recuperating effect through the memory of a glorious reality sometime, whose death is always announced and always delayed for never ..." Valentin Ciucă, A century of fine arts in Moldova, ART XXI Publishing House, Iaşi 2009.

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Watercolor on Glass

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9 W x 12.5 H x 1 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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