Prescient Abstract Art Work Depicts the Coming of World War III

Humanity and Inhumanity as Archetypal Creatures oil painting

BY Shane Lewis POSTED 4th of august 2018 17:00 GMT

Clairvoyant of world war III, abstract painting

Clairvoyant of world war III, abstract painting

Clairvoyant of world war III, abstract painting. Painted 2016 to 2017 by British artist, Gheorghe Virtosu, b.1968. Abstract art, Oil painting, 137 cm high by 137 cm wide. 54 X 54 inches.

The artist

Abstract art master, Gheorghe Virtosu is exploiting the evocative interrelation between color, motion, and form to create an aesthetic experience that carries a message within. The contemporary artist 's oil painting proves the connection between objective and abstract art. The artist conveys the sense of drama and action in his canvases, through the complex and vibrant painting texture, done with loose, gestural brushwork, and intensive palette. Thus, the contemporary artist accepts narration as an essential part of his abstract works. The oil painting title creates the bridge between his art and the viewer, giving the key to the interpretation of the image. Paradoxically, the artist doesn’t oust but welcomes the reality into his paintings.


This abstract artwork describes the belly and the main body of Virtosu's figure as signaling balance and harmonious peace as oceanic blues and terrestrial colors are settled in an organic structure. The figure is surmounted by perhaps an all-seeing bird that is crowned with its gift of prophecy.


However, coloring in this oil painting is that of an earthy brown seems to cascade down the length of the figure on two sides beyond its body. This can be interpreted in at least two ways. Either that the wisdom and foresight of the bird are by no means exclusive to it and that a new total war is forecast by many, or that wisdom – far from prevailing – will become embroiled in and vitiated by the coming conflict. The integrity and majesty of the bird's upper posture degenerating the further the eye of the viewer lowers. In further support of the vitiation or helplessness of foresight, a cursed gift of Cassandra is the violence with which the blue and brown spike pierces the breast of the bird, a visual marker of the inescapability and mutative agency of the force of political circumstance. To the left in an ominous black, blotted with furious and sanguinary red, is a figure stalking upon the central figure. This is perhaps a conflation of all the perceived threats to civilization – be it terrorism or the warlike dispositions of nations in the struggle for ever-diminishing resources. This figure's hackles are raised as it marches on the citadel of the main figure, which now signifies culture, reason and the disposal towards peace which propitiates the cultivation of these.

Clairvoyant of world war III, abstract painting


Within the bellicose figure seems to be another in fiery gold that presages destruction. Yet, if we see it with its arms raised rather than emitting the flames of devastation, and if we see the cavity in its 'head' as a mouth, this figures combines the roles of hostile harbinger of war and the affrighted raiser of the alarm, whose fire becomes a piercing scream of suffering or the anticipation of suffering. The head of the black figure on the left of this contemporary artwork is in the shape of a helmet, perhaps even a mushroom that is a doleful reminiscence of the devastation inflicted on Hiroshima and Nagasaki in 1945. By this device, the contemporary artist transplants history into the present and the future – almost to indicate a tragic circularity of time and the quandary of the ubiquity of war and loss no matter how progressed or cultured a society is held to be.

Objective and Abstract

Gheorghe Virtosu’s pieces prove the connection between Objective and Abstract. Leonardo da Vinci noted that, if our vision can grasp landscapes and faces in the accident blots, the same way it can ‘deconstruct,’ eliminate the integrity of an object’s image. And that purified natural form becomes the basic artistic material for the painter. Nevertheless, Gheorghe Virtosu doesn’t copy the natural forms but rather follows their dynamics and movement: sudden twists of the line, compositional pauses, coloristic bursts are consonant with the natural processes of birth, growth, and decay. The artist blurs the borders between ‘narrative’ and ‘non-narrative art,’ asking us “What is the reality, if not one of the most abstract things in the world?”

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