{"id":15900,"date":"2018-06-14T19:21:51","date_gmt":"2018-06-14T19:21:51","guid":{"rendered":"http:\/\/www.emilbacila.com\/?page_id=15900"},"modified":"2018-09-05T17:21:18","modified_gmt":"2018-09-05T17:21:18","slug":"autoportret","status":"publish","type":"page","link":"https:\/\/www.emilbacila.com\/en\/opera\/autoportret\/","title":{"rendered":"Self-portrait"},"content":{"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” row_negative_margin=”disable_negative_margin” z_index=””][vc_column][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner width=”1\/2″][vc_column_text]<\/p>\n

Self-portrait
\n\"\"<\/h2>\n

[\/vc_column_text][vc_empty_space height=”15px”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text][\/vc_column_text][\/vc_column_inner][vc_column_inner][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner width=”1\/2″][vc_column_text]<\/p>\n

We are looking at a remarkable and memorable self-portrait of an aged man watching us preoccupied: the subtle layout of the image depicts him nearby a pitcher with flowers colored in grey-blue and dark-mauve – tones which reflect a tragic and hopeless melancholy. This idea is also emphasized by the indecisive form of petals, \u201cchilled\u201d in white, pale tints. In his dialogue with the viewer, the artist seems to address a reproachful regard behind his jab thick rimmed glasses. The corners of his mouth drop and the eyelids cover the light of his eyes expressing a certain anger ready to burst in verbal imprecations. Is there a suggestion of an excruciating, heavily mastered disillusionment, hiding gloomy forebodings and reproaches? The shape of the visage ignores the naturalistic details, but insists on a linear transfiguration that enhances the expressiveness of emotional and mental state of overwhelming hopelessness.
\nThe black cap is placed like a guillotine over the character\u2019s head, composing a bright triangle of the forehead together with the glasses; this light falls over the line of the nose and the left cheek. The composition of the scarf and the collar in conjunction with the face suggests a symbolic cross dramatically exacerbated in a plastic manner. This inner tension, this bad psychic vibration nesting in the human soul can be felt only in the frowning portraits of Corneliu Baba. What is the reason of his anger? Is it something personal or maybe a dramatic quarrel with the world, the game of the crying laughter of Picasso\u2019s Harlequin, or the expression of the \u201ccommedia dell\u2019arte\u201d? Does the artist imagine himself as a sad Pierrot betrayed by a vulgar and frivolous Colombine? Beyond the jester idea of the depicted character, this portrait-mask emphasizes the intense drama of the portrayed artist; the symbolic of the character should be linked with the existential vicissitudes of the human nature faced with\u00a0the passage of time and the failures of his soul. Is it a rhetoric assumed as a \u201ele\u00e7on de style\u201d refusing itself to the concupiscent vanities sensually radiating from Rembrandt\u2019s portraits, especially those with Saskia?
\nNo, this is the grave self-portrait of a man for whom the decoded meanings of the evolution hide upsetting premonitions about the times which were to come. Or, is it the strange sadness of some revolutionary figures such as Paul C\u00e9zanne and Van Gogh, whose drama consists in their need to free through their art? Maybe a little of all these who \u201cfilled\u201d the pitcher of tragedies and infirmities \u201cswallowed\u201d by the artists, no matter the epoch or the social success! Emil B\u0103cil\u0103 was one of those who felt keenly the heavy tragedy hidden inside the artist\u2019s soul. He was dedicated to the School he belonged to and he followed its destiny.<\/p>\n

As a professor at the \u201cIon Andreescu\u201d Institute of Fine Arts in Cluj, he consumed his career according to the success of his students. He kept his artistic work in the shadow of his teaching career; now, some time after his death,<\/p>\n

[\/vc_column_text][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text]<\/p>\n

\"\"he became a part of the whole which is the School of Cluj, with its central figures: Petru Abrudan, Petru Feier, Nicolae Brana, Catul Bogdan, Liviu Florean, Nicolae B\u0103laj,Vasile Cri\u015fan, Paul Sima, Mircea Vremir, Ghiorghi Apostu and others.<\/p>\n

However, why the anger? His anxiety, the allusive reproach of his thoughtful eyes is coming from his fear; he seems to perceive a vague, unbearable horizon – the gradual ruin and collapse of the modern painting\u2019s edifice which moved up the 19th century in Europe and reached the limit of its extinction under the cruel blow of the \u201cdemocracy of arts\u201d. The attitudes that trample fragile spirits, shy and introspective sensibilities, were translated into a chaotic model that did not offer to the world of art a better, more valuable model, but simply were following to exterminate the old values of art. Thus, a self-portrait of the artist can serve as a testimony.
\nThe School of Cluj has manifested permanently in a multi-cultural climate and it has developed a relationship of aesthetic and stylistic solidarity between its members.
\nEven if it seemed a \u201cconglomerate\u201d, this School gathered and \u201cdistilled\u201d the plastic talent of its students, emphasizing on the characteristic of plastic art.
\nThe \u201csmooth\u201d transition from a borrowed socialist model to an art of national sensitivity reconstructed the cultural integrity and the affinity with the Romanian art of the interwar period. Finding his place in this \u201cpuzzle\u201d of identities, Emil B\u0103cil\u0103 presents himself in a different light – as a passionate artist, a fervent supporter of a reluctant modernity, virtuous and elegant in his anti-militant message.<\/p>\n

Vasile Radu<\/p>\n

[\/vc_column_text][\/vc_column_inner][\/vc_row_inner][\/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” row_negative_margin=”disable_negative_margin” z_index=””][vc_column][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner width=”1\/2″][vc_column_text] Self-portrait [\/vc_column_text][vc_empty_space height=”15px”][\/vc_column_inner][vc_column_inner width=”1\/2″][vc_column_text][\/vc_column_text][\/vc_column_inner][vc_column_inner][\/vc_column_inner][\/vc_row_inner][vc_row_inner row_type=”row” type=”full_width” text_align=”left” css_animation=””][vc_column_inner width=”1\/2″][vc_column_text] We are looking at a remarkable and memorable self-portrait of an aged man…<\/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\/15900"}],"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=15900"}],"version-history":[{"count":35,"href":"https:\/\/www.emilbacila.com\/en\/wp-json\/wp\/v2\/pages\/15900\/revisions"}],"predecessor-version":[{"id":16203,"href":"https:\/\/www.emilbacila.com\/en\/wp-json\/wp\/v2\/pages\/15900\/revisions\/16203"}],"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=15900"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}