{"id":15711,"date":"2018-06-09T12:20:32","date_gmt":"2018-06-09T12:20:32","guid":{"rendered":"http:\/\/www.emilbacila.com\/?page_id=15711"},"modified":"2018-09-05T17:51:46","modified_gmt":"2018-09-05T17:51:46","slug":"poetica-acuarelei","status":"publish","type":"page","link":"https:\/\/www.emilbacila.com\/en\/opera\/poetica-acuarelei\/","title":{"rendered":"Poetics of watercolor"},"content":{"rendered":"

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Poetics of watercolor
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\u201cThe color is mine. I don\u2019t have to run after<\/em>
\nit any longer. I know now that it nests inside<\/em>
\nme, forever. This is the meaning of a blessed<\/em>
\nmixture of colors. And I am a painter.\u201d<\/em>
\nPaul Klee<\/em>
\nWays of Studying Nature, 1923<\/em><\/p>\n

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\nThe young spirits usually let themselves seduced by the sensitive \u201cassaults\u201d of the knowledge and feel strongly the plastic fullness and the diversity of the colorful core
\ngreedily consumed by the fresh receptaculum of their sensitivity, as a passionate exercise of pleasure. Before the moment of sensitively feeling the nature, a young artist must learn the lesson of color exalted and emphasized by an educated observation, and only after a long experience he will become artistically fulfilled.
\nWithout color, the surrounding world becomes a dull experience; in the absence of feelings, the geometry of spaces – with their endless insinuation, fragmentation and blur – cannot be animated. These obsessive thoughts are persistent in the artist\u2019s mind and eye – the most precious \u201ctool\u201d of the artist forming the system of plastic reflection.
\nThese empirical aspects become part of the artist\u2019s experience which will be expressed in a rational and elaborate system becoming \u201cuna cosa mentale\u201d – as Leonardo was calling the art!
\n\"\"
\nIn the 19th century the physicists developed the theory of color spectrum; the artistic currents such as the Impressionism and the Neo-impressionism emerged from there. The modern theories of the 20th century have emphasized on the chromatic synthesis as it is now perceived in the color field – beyond the excessive \u201cidiosyncrasies\u201d of the local environment. The most elaborate theories about color have been written by such artists as Paul Klee and Johannes Itten.
\nFollowing the didactic demands Emil B\u0103cil\u0103 had to pursuit at \u201cIon Andreescu\u201d Institute of Fine Arts in Cluj, he had to deepen the study of color and ornament,\u00a0but also the painting. The field of tapestry seemed to be invaded by too many technical innovations; there was a confusion between the easel painting and the mural tapestry – as decorative element in architecture. For Emil B\u0103cil\u0103, the best thing to be done was to smooth the misunderstandings between the two fields and to emphasize on the plastic message.
\n\"\"
\nThe artist found here a favorable climate for his artistic progress in the field of traditional tapestry, rejecting the innovation that transformed the tapestry in a spatial object animated by the modern aesthetics which were promoting the \u201cmystery\u201d, the \u201cgrotesque\u201c or the \u201ctragic\u201d. Specific for the tapestry were the \u201ctactility\u201d, the \u201cgrandeur\u201d and the \u201corganic structure\u201d.
\nThe young Emil B\u0103cil\u0103 was rather preoccupied to study the plastic message of his older colleague Paul Klee – who initiated a revolution in understanding and using the color.<\/p>\n

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When Paul Klee died on the 29th of June 1940 (for the last decade of his life he was suffering of a scleroderma), Emil B\u0103cil\u0103 was 14 years old. Through his creation, the Master of Bauhaus made a significant contribution to the theory of color and to the study of color in art schools. \u201cHis intention was not to educate specialists or to make genius, but to teach the students a new basis of optical expression and a plastic vocabulary that each student had to verify and develop accordingly to his experience.\u201d
\n\"\"
\nIn his thesis, Klee considered basic elements from mathematics and from the organic environment relevant for his plastic language. Thus, it was an opposition to the preponderance of form, as a relevant expression of death; Paul Klee preferred a vivid, dynamic formula of life itself, in a plastic expression of what he called the \u201cgenesis\u201d of artwork.<\/p>\n

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On his courses, Klee was irradiating \u201can occult force upon his young students, while he was drawing with his two hands illustrating his ideas and formulating the basis of his thought and expression\u201d.\u00a0 This innovation in his didactics had a remarkable echo in the European modern art contributing to the development of European avant-garde.
\n\"\"
\nHis innovative methods were quickly embraced by young Romanian artists who\u00a0believed they were the representatives of the new European \u201csensibility\u201d. In Northern Transylvania, artists had been strongly influenced by Central European art tradition and by Hungarian and Austrian national schools; they pursuit and applied the methods of Hungarian and Austrian schools as they matched with their creation, maybe in a \u201cprovincial\u201d way, less rigorous, but keeping the basis of painting study as it was promoted by the Bauhaus School.
\n\"\"
\nThe professors of Fine Arts School of Cluj (1927) applied the Bauhaus School methods during its settlement in Timi\u015foara, (1933-1945). After the war, the Hungarian Art Institute was set up in Cluj (1948); Romanian students were accepted there, too. After two years, in 1953, under the criticism of the new political power, the Institute became the \u201cIon Andreescu\u201d Institute of Fine Arts, where the curriculum was organized after the Russian model of art schools.
\n\"\"
\nEmil B\u0103cil\u0103 was one of the first students graduating the Institute; he was able to accept the tough conditions of class selection imposed by the new political government.
\n\"\"
\nThe \u201cIon Andreescu\u201d Institute of Fine Arts was an experimental appearance, the first artistic institution of the new regime of \u201cpopular power\u201d; it had to be the \u201cpilot institution\u201d to prepare artists to promote the political ideologies. Through their art, those artists had to fight against the bourgeois regime – strongly represented by the artists in the traditional art centers from Bucharest and Ia\u015fi.<\/p>\n

[\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_empty_space][\/vc_column][\/vc_row]<\/p>","protected":false},"excerpt":{"rendered":"

[vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_empty_space height=”100px”][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern”][vc_column][vc_column_text] Poetics of watercolor [\/vc_column_text][\/vc_column][\/vc_row][vc_row css_animation=”” row_type=”row” use_row_as_full_screen_section=”no” type=”full_width” angled_section=”no” text_align=”left” background_image_as_pattern=”without_pattern” row_negative_margin=”disable_negative_margin” z_index=””][vc_column width=”1\/2″][vc_column_text] \u201cThe color is mine. I don\u2019t have to run after it any longer. I know…<\/p>\n","protected":false},"author":1,"featured_media":0,"parent":15705,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":[],"_links":{"self":[{"href":"https:\/\/www.emilbacila.com\/en\/wp-json\/wp\/v2\/pages\/15711"}],"collection":[{"href":"https:\/\/www.emilbacila.com\/en\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.emilbacila.com\/en\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.emilbacila.com\/en\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.emilbacila.com\/en\/wp-json\/wp\/v2\/comments?post=15711"}],"version-history":[{"count":26,"href":"https:\/\/www.emilbacila.com\/en\/wp-json\/wp\/v2\/pages\/15711\/revisions"}],"predecessor-version":[{"id":16208,"href":"https:\/\/www.emilbacila.com\/en\/wp-json\/wp\/v2\/pages\/15711\/revisions\/16208"}],"up":[{"embeddable":true,"href":"https:\/\/www.emilbacila.com\/en\/wp-json\/wp\/v2\/pages\/15705"}],"wp:attachment":[{"href":"https:\/\/www.emilbacila.com\/en\/wp-json\/wp\/v2\/media?parent=15711"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}