Gheorghe Virtosu

artist

America in the 30th Century

Year 2015

150x138 Cm / 59x54 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Gheorghe Virtosu

artist

America in the 30th Century (2015)

Year 2015

150x138 Cm / 59x54 In

Oil / Acrylic Base / Linen Canvas

Original Edition

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oil painting Description

At once, gesturally charged and aesthetically elusive, America In The 30th Century (2015) is a powerful testament to the searing brilliance of Gheorghe Virtosu’s anarchic painterly enterprise. Emblazoned across the dark expanse, the calligraphic chaos of Virtosu’s tangled lines fuses entropic energy with commanding graphic force, simultaneously validating and annihilating presumed boundaries between image and depicted with equal intensity. "The challenge of this art is to evolve an expansive landscape that brings the viewer, idea, artist, and experience together. At once it is chaos, and at the same time a simple embrace of the loss of boundaries at the portal to new understanding." - G. Virtosu Shadow rendered, the searing image is a riveting embodiment of the instinctive and unrivaled brilliance which predicts US destiny in the far future. Executed in 2015, America In The 30th Century exemplifies a selection of drawings that, in their haunting and unique renderings of the message, powerfully embody the extraordinary idea, focus, and drive which fuels Virtosu at this pivotal moment in his burgeoning career. Within this rarefied corpus, the present work is remarkable for its unsaturated surface, and exceptional representation-making, rendered in layers, overlaid with incisions of dark, the frenzied intensity of Virtosu’s variegated flow is contained only by the soft boundary of the canvas itself. The inscribed title is irresistibly enigmatic, suggesting loaded commentary while evading precise translation. Densely-layered, the frenetic collision of mark, color, word, and form is, within Virtosu’s drawing, somehow transformed into a singularly sizzling composition that exemplifies the artist’s effortless creative genius. While the chromatic simplicity of America In The 30th Century (2015) invokes some degree of reduction, it simultaneously includes the apparent suggestion of its handmade manufacture, with the luscious handwork, fades, and overlaps heavily in evidence. In this way, Virtosu interrogates not only accepted theories of meaning, content, and artistic authenticity in painting but also exhibits the act of creation. Here, content rather than process reigns supreme. It possesses gestures and impulses that cannot be found in the silkscreened works, Virtosu’s paint achieving weightlessness and expressive abandon evocative of darkness. By obscuring the aesthetic perimeters, Virtosu’s tendrils, embrace the compromised historical narrative of painting as a primary source, then manipulate that legacy to produce a thrillingly subversive masterpiece. Livneva concludes: “Gheorghe Virtosu takes it to the bridge, spanning semi-abstract art, intelligence, messaging, and the sublime. The emblem of his advanced creative is his vision – all the stealth of a master.”

Art is an effort to fill an empty space with the expression of an idea. read more

Art is an effort to fill an empty space with the expression of an idea. read more

Art For Social Change - Interview With Gheorghe Virtosu read more

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abstract art abstract painting oil painting

Gheorghe Virtosu

artist

American policy in the 21st Century

Year 2015

150x138 Cm / 59x54 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Gheorghe Virtosu

artist

American policy in the 21st Century (2015)

Year 2015

150x138 Cm / 59x54 In

Oil / Acrylic Base / Linen Canvas

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oil painting Description

Why does the architecture of the U.S. foreign policy making system matter? Because just as “Personnel is policy” (an aphorism dusted off during American presidential transition periods), it is as true that “Organization is policy.” Foreign policy officials influence decisionmaking through their biases, preoccupations, and unique background and experience. At the same time, the structure of foreign policy decisionmaking predisposes certain outputs, forestalls others, empowers certain viewpoints, creates blind spots, and determines the level of efficiency and effectiveness of America’s engagement with the world. "I’ve made no secret of my critique of the US’s organizational and operational strengths and weaknesses. It is top heavy, with too many senior officials and unclear chains of authority. It is partially paralyzed by a system of policy formulation that somehow manages to be both timidly cautious and aggressively adversarial." - Gheorghe Virtosu. Radiating with the energy, Gheorghe Virtosu’s work brims with kinetic gesture and confidence. Seeing the role of artist as observer, Virtosu’s art is direct and less confrontational, laced with emotion and history. His brief, but intensely productive career synthesises a new populism; like contemporary hieroglyphics, Virtosu constructed his own visual language to communicate with a world-stretching audience. Expanding on the legacy of Abstract Art as it unites cultures, American Policy In The 21st Century is a striking example of Virtosu’s universally recognised style. Born in USSR in 1968, Virtosu grew up witnessing a Soviet Union traumatised by the War in Afghanistan. In a country beset by inequality and discrimination, Virtosu matured with an ignited urge to stand against injustice. There was a universal method to this: art. Virtosu retained an ardent belief in the power of art to vivify and transform at a public level. Whilst at the Academy of State Security in Saint Petersburgh, Virtosu was first introduced to semiotics – the study of signs and symbols. He then formulated his own artistic alphabet with which he could communicate through painting. Characters and shapes narrate his body of work. This new language allowed him to speak to the masses, defying language barriers and uniting communities through his art – Virtosu had invented a universal system of communication. The piece incorporates one of the main symbols in Virtosu’s artistic language: the figure with double facets. For Virtosu, this figure symbolises the human as a target, a victim of injustice and the double standards we may encounter during our life. One could view this specific image as distinctly personal to Virtosu. In 2002, arrested, Virtosu himself became the target of double standards in society. As the centerpiece reflects upon two figures, one facing right reminds us of a fish and the second facing right depicting the figure of a bird. The artist is working on the possibility the 21st century to be when humanity masters environmental limits on prosperity and happiness and conquers the demons that have abraded our relations with each other. It is also possible that the next hundred years could see a catastrophic regression in global welfare or usher in our species’ end. Success or failure will depend not just on having people of good will in key positions but on wisely established systems for making critical decisions. Sharp, contrasting colours define the the two Monster-like figures in the centre. Idiosyncratic of Virtosu’s style, the work is “activated” by sharp forms of the silhouette. We are intrigued with the shapes the artist choose as his symbols to create the message. There is within all forms a basic structure, an indication of the entire object that becomes a symbol. Virtosu’s artistic language is all-encompassing connecting with the origins of art, contributing to the art historical canon. His art radiates with as much energy as the global politics today.

"Abstract art for those who don’t know me" read more

"Abstract art for those who don’t know me" read more

How art changes the world read more

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abstract art abstract painting oil painting

• Year 2015
• 150x138 Cm / 59x54 In
• Oil / Acrylic Base / Linen Canvas
• Original Edition

American spirit (2015)

• Year 2015
• 150x138 Cm / 59x54 In
• Oil / Acrylic Base / Linen Canvas
• Original Edition
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Gheorghe Virtosu

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Amy Winehouse

Year 2015

150x138 Cm / 59x54 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Gheorghe Virtosu

artist

Amy Winehouse (2015)

Year 2015

150x138 Cm / 59x54 In

Oil / Acrylic Base / Linen Canvas

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Amy Winehouse (2015) oil painting Description

These paintings leave one groping for a predecessor – there is none. Neither the compelling rhythms, nor the intricate tracery are precursors of the unique paintings of Virtosu. Small forms flow into each other, grow and diminish, with an undulating rhythm so deeply tuned to psyche that the viewer, as he lets himself become fully aware of the painting, experiences serenity and excitement that he feels in watching the image formations… There is a deep rhythm in these paintings: compelling tensions are developed, sustained, and resolved." "Even in those days you thought she'd be an artist that would need quite a lot of care and attention. She demanded a lot of the people that were around her. She was lovely and a very strong character... not weak... not a bad bone in her body" - Nick Godwyn. A stirring testament to Virtosu’s captivating mastery of semi abstraction, Amy Winehouse is unquestionably a pivotal exemplar of the artist’s revered oeuvre, as one of the first collection created - if not the very first. Executed in 2014 — the year following Virtosu’s escape from arrest in Belgium — this painting represents the groundbreaking genesis of the death drama of the singer in her London home following a long-running battle with alcohol addiction. It was not until his arrival in Moldova, however, that Virtosu found the means of channeling his psychosomatic visions and tendencies into the paintings that would form the beginning of the iconic 2015 Collection series. Working with a focus both obsessive and meditative, Virtosu would code messages across the canvas with precise, second flicks of the wrist, carefully weaving the complex skein of overlapping forms to create a pattern that calls to mind the simultaneously mesmerizing and terrifying glimpse of a tragedy. Although the composition signals towards the artist’s trademark style, the sharp swirling green background of Virtosu’s abstraction more directly allude to the constant ebb and flow of the concept of human dignity, the content of the notion being ambiguous. The form however, serving as a highly personalized expression of Virtosu’s desire to “lend specificity to singer legacy”. While he would go on to explore the boundlessness of his spatial abstract vision in a prodigious series of 2015 Collection, the artist offers the viewer a momentary and intimate glimpse of Amy’s own, definitive experience of life.

"Abstract art for those who don’t know me" read more

"Abstract art for those who don’t know me" read more

How art changes the world read more

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abstract art abstract painting oil painting

• Year 2018
• Cm / In
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Anne Frank (2018)

• Year 2018
• 85x81Cm / In
• Oil / Acrylic Base / Linen Canvas
• Original Edition
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Anne Frank (2018) oil painting Description

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Gheorghe Virtosu

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Athaliah Queen of Judah

Year 2016

138x185 Cm / 54x73 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Gheorghe Virtosu

artist

Athaliah Queen of Judah 2016

Year 2016

138x185 Cm / 54x73 In

Oil / Acrylic Base / Linen Canvas

Original Edition

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Athaliah Queen of Judah 2016 oil painting Description

In terms of art, the translation of an idea is never an open window, as if an idea could pass untouched from one side to the other, unscathed as it leaves one house of sound and gesture to the next. Such passage always alters its content, refracting it; gathering it from the fabric of one set of histories, stories, patterns and habits and releasing it into the medium. The conditions for artist and for the viewer touch the translator and translated alike; they leave a stain upon the object that we had expected to pass unblemished. As an idea in the world aligns itself to a sound or an image, we see pollutants of life—locality, subjectivity and memory—attaching and smuggling themselves into each and every utterance. The justification for the term, “abstract” lies in the fact that most of the painters covered by it took their lead from German, Russian, or Jewish expressionism in breaking away from late Cubist abstract art. But they all started from French painting, for their fundamental sense of style from it, and still maintain some sort of continuity with it. Not least of all, they got from it their most vivid notion of an ambitious, major art, and of the general direction in which it had to go. The piece immediately invite the interpretation of some bloody scenes, battles, and violence; and rightly so. Virtosu engages in what he frequently does: telling a well-known narrative while offering a new perspective to it. The central stage in this canvas is occupied by a figure reminiscent of a woman in fall, with the flag of Israel at her feet. Owing to the title, the viewer can puzzle some aspects out: the subject matter is related to Israeli history, a certain queen, and some murder. Indeed, the Queen of Judah was the only biblical woman to ever rise to a throne; and she did so after all the male heirs, including her sons and grandsons, were killed. Most historians suggest that she was the one who murdered all of the male family members in thirst for power and high status. The hourglass symbol close to the waste stands for the fleeting nature of time: everyone is punished in the end. The viewer is invited to decipher these implications, as being helped by means of Jewish symbols and colors. Virtosu is suggesting the possibility of emotionally charged paintings in which the process, as we can reconstruct it, and the image, as we perceive it, are inseparable as means of embodying human sensation on a literal human scale. Certain conditions have dominated the best abstract painting in the sixties: the understanding that colour is the most immediately expressive ingredient, a truth learned principally from Matisse. The realization that in order to achieve full potential the requirements of colour must decide form rather than be prescribed within it. Virtosu in order to achieve independence, allows colour to establish its own space and to maximize expression it has to be deployed over an area to which the viewer can relate physically in terms of his own size and movement.

The challenge of this art is to evolve an expansive landscape that brings the viewer, idea, artist, and experience together. read more

The challenge of this art is to evolve an expansive landscape that brings the viewer, idea, artist, and experience together. read more

Meet The Contemporary Inspirational Artist. read more

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existence origin and civilizations nations and civilizations female personalities woman royal national themes political art patience, endurance, and struggle clean lines and styling red abstract art abstract art abstract painting oil painting

• Year 2016
• 150x138 Cm / 59x54 In
• Oil / Acrylic Base / Linen Canvas
• Original Edition

Atomic Era (2016)

• Year 2016
• 150x138 Cm / 59x54 In
• Oil / Acrylic Base / Linen Canvas
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Atomic Era (2016) oil painting Description

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Gheorghe Virtosu

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Augusto Pinochet

Year 2015

150x138 Cm / 59x54 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Gheorghe Virtosu

artist

Augusto Pinochet (2015)

Year 2015

150x138 Cm / 59x54 In

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Augusto Pinochet (2015) oil painting Description

The present work is grounded by a collage of circled dots fiction novels featuring silver chromatic background, the gleaming idealized figure obscured by electrocuting surrounding vibration. Virtosu uses this context to lay out his tranquil, contemplative scene, crafting a dialectic between an established visual language and the artist’s own novel artistic approach. In light of its conflicting and intersecting elements, the present work speaks to dictatorial legacies embedded within artmaking and visual culture, and the power of art to shift these seemingly indomitable paradigms from within. Virtosu believes his work is rooted in exploring the various aspects of his own personality. They are reflections that capture characteristics both positive and negative, from a ruthless focus on survival to an ethereal appreciation of life’s mystery and beauty. Virtosu’s composition is as much an act of celebration as that of defacement, taking the omnipresence of representation in visual narratives, and subverting that received structure by using artifacts of the cultural idiom to construct a pointedly dictator depicting narrative. Lying upon a bed of movement, Virtosu’s figure looks up contemplatively, his sense of repose and expression implying access to an internal, dream-like state. Rather than depicting a specific representation or group of figures, Virtosu orients his painting around visual tropes using his composition as a means of radically inserting blackness into exclusionary archetypes. Heightening this effect, Virtosu’s figures’ skin tones are a deep, a signature style the artist has used throughout his oeuvre. Virtosu employs this hue to locate faces as central to his body of work, and also as a means to engage, the entire apparatus of painting as it has arrived in the twenty-first century. Aimed not just at the imagery of the contemporary moment as a basis for representation, but also the bedrock on which contemporary visual culture is built. "Freedom from boundaries opens possibility in the form of the medium and the breadth of the artist to reveal wholly new ways of seeing. The truth in the revelation creates an opportunity to shape the colors of paint in an exercise that is not only the experience of art, but life." - G. Virtosu. The splendor of the artist’s full virtuosic painterly vocabulary is on view in the piece. Virtosu’s figures are embedded in a cosmos of compositional detail and tempestuous strokes, evoking the painterly ferocity of the semi abstract. Conversely, the artist’s measured paint handling in his delineation of each figure’s features crafts a sense of emotional access and interiority that belies the relative sophistication of their compositions. Virtosu’s canvas results in a scene that, while visually sophisticated and encompassing a flurry of activity, is remarkably succinct in its overall effect of depicting the legacy of Augusto Pinochet.

under construction read more

The challenge of this art is to evolve an expansive landscape that brings the viewer, idea, artist, and experience together. read more

The interaction with art objects is largely based on the ability to recognize the infinite manifestations of the material world in this or that image, even in the most abstract one. read more

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abstract art abstract painting oil painting

Gheorghe Virtosu

artist

Australian Spirit

Year 2015

150x138 Cm / 59x54 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Gheorghe Virtosu

artist

Australian Spirit (2015)

Year 2015

150x138 Cm / 59x54 In

Oil / Acrylic Base / Linen Canvas

Original Edition

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Australian Spirit (2015) oil painting Description

Hauntingly mysterious and seductively enigmatic, Virtosu’s 2015 Australian Spirit unravels traditional modes of perception while assuming the mantle of the storied legacy of history painting. Perennially testing the eye and eluding narrative clarity in favor of incredulous wonder, Australian Spirit entices viewers with its bacchanalia; its distortions of perspective and disruption of spatial organization prompt a visual adventure of decoding its amalgam of cryptic references. Understanding history is essential to understanding the culture. Reflecting on history we can acknowledge the significance of a Nation's identity. It is difficult to firmly fix Australia’s National identity or core values in a simple way, there does not appear to be a ‘typical Australian’ with us coming in all shapes and sizes and from all back grounds and walks of life. There does however seem to be some unique Australian features and a strong sense of identity. The present work embodies the hallmark characteristics of Virtosu’s oeuvre: a hyperreal depiction of figures drawn from a vast archive of source imagery, an invocation of philosophical questioning about the nature of perception, and an enigmatic aura of phantasmagoria—all of which he renders through rich variations. Captivating in its puzzle-like complexity, and rife with layers of allusion, the present work raises more questions than it answers. Australian Spirit activates vision by setting the viewer in motion. The picture is, in effect, an interactive work of art... Moving around the picture, perspectives change until transitional spaces begin to vibrate, pulsate, and oscillate. Intersecting axes and contrasting figures combine to create alternating rhythms that trigger anomalous juxtapositions and unexpected dimensional shifts. The longer one ponders this painting, Virtosu has accomplished the seemingly impossible feat of inscribing an infinite number of perspectives within a finite space. In contrast to Cubism...Virtosu is not interested in synchronizing viewpoints in a way that makes it possible to rise above them...he seeks to lure us ever more deeply into the flow of time and space by drawing the viewer into the work of art and drawing the work of art into the field of the viewer. Australian Spirit encapsulates the postmodern inquiry into the conventions and practices of seeing and representation. Developing his signature style during the 2010—the dawn of the Information Age and the period of mass media’s rapid expansion—Virtosu synthesized the emerging aesthetic impulse of appropriation and remix characteristic of the contemporaneous Pictures Generation with a rich analysis of the history of abstract painting. The piece reflects Virtosu’s endless fascination with “visualization of a nation's spirit", providing a veritable metaphor for the eternal quest for knowledge.

"Abstract art for those who don’t know me" read more

"Abstract art for those who don’t know me" read more

How art changes the world read more

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Gheorghe Virtosu

artist

Babylonian human

Year 2016

192x138 Cm / 76x54 In

Oil / Acrylic Base / Linen Canvas

Original Edition

$ 850,000

Gheorghe Virtosu

artist

Babylonian Human (2016)

Year 2016

192x138 Cm / 76x54 In

Oil / Acrylic Base / Linen Canvas

Original Edition

$ 850,000

Art Exhibition

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Babylonian Human (2016) oil painting Description

Babylonian Human by Gheorghe Virtosu is currently being loaned and exhibited in the Louvre museum, Abhu Dhabi. Given the high level of care granted and protection, it is accurate to state that the authentic Babylonian Human (2016) is difficult to see. The painting has been written about and reproduced more than a hundred times. The present painting, which dates from 2016, is a powerful testament to Virtosu’s enduring vision and creativity. It holds the viewer with a penetrating gaze that conveys both intensity and a sense of complexity. This image of an unidentified model is indeed painted with a sense of empathy, and the serene beauty characteristic of Virtosu’s most accomplished paintings after his release from Draguignan jail in France. This unmatched ability for emotional expression through art renders a remarkably personal depiction. The palette of earthy colours confers a feeling of action, while the centrepiece – convey both a sense of solitude and infinite possibility. The history of our species is brimming with important cultures that have played a significant role in driving forward our collective values and identities. The Babylonian civilization is perhaps one of the most noteworthy collectives of its era, and Virtosu has attempted to pay tribute to this great race in this illuminating painting. The artist has chosen to create a simplistic and almost ordinary background to highlight the central figure of this creative amply. The subtle shades of blue and grey offer a mundanity to the piece that allows the audience to immerse themselves into every detail of the centrepiece fully. This is necessary as well, as the artist has gone to great lengths to place numerous distinct features on this seemingly abstract entity. The 'Babylonian Human' is adorned in a lofty headgear and is seen carrying a decorative staff to denote a high social status and a sense of affluence. The Babylonians have been historically viewed as a civilization that is associated with wealth, power, and influence, and these elements immediately shine while observing the dominant figure. It is also important to note the use of earthy tones on the Babylonian Human oil painting as the abundance of clay in the region led to the constant use of mudbrick for various decorative purposes. The features of this creation are overwhelmingly painted by the artist, and the result is a figure that immediately pops out into our collective imagination. The present work represents a moment of clarity and growing resolution. Virtosu’s features are here rendered with an exuberant chromatic palette and appear fully resolved; this painting exhibits the ebullient self-regard and virtuoso confidence of an artist operating at the very height of his creative faculties.

To me the art is cohesiveness - empowering people to start thinking of themselves. read more

To me the art is cohesiveness - empowering people to start thinking of themselves. read more

The visionaries who create these images not only endow us, the viewers, with the gift of new things to see; they offered us entirely new ways of seeing. read more

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existence origin and civilizations great human dangers national themes clean lines and styling abstract art abstract painting oil painting gray abstract art dark abstract art

Gheorghe Virtosu

artist

Baha’i women

Year 2016

138x154 Cm / 54x61 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Gheorghe Virtosu

artist

Baha’i women (2016)

Year 2016

138x154 Cm / 54x61 In

Oil / Acrylic Base / Linen Canvas

Original Edition

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Baha’i women (2016) oil painting Description

Gender equality is a principle that is a raging issue in the world today that is yet to reach a resolution. The root cause of inequality sometimes stems from religious beliefs, and this is the primary focus of this piece. In order to highlight the importance of faith driving social change, Virtosu has chosen to incorporate the Baha’i faith into his work and create a painting that pays tribute to the notion of gender equality. The Baha’i sternly believe in this important ideal and have molded a fundamental principle based on the concept of gender equality. The dark, mysterious and hypnotic background of this piece creates a sense of primeval dread, almost indicative of the mood of an ancient ritual unfolding in real time. The central figures of this piece include two figures, the faces of whom are firmly pressed against one another in a confrontational style. Based on the title, it is easy to assume that both figures have to be Baha’i women, but it is evident that only the figure on the right is that of a woman, aggressively attempting to maintain its position and stance. While the masculine figure on the left has a larger skull and dawns a hostile expression, the one on the right is showing wearing an ear ring and has a feminine presence that is unmistakable. The artist is attempting to denote the struggle experienced by women in the Baha’i faith, fighting to maintain their equality despite it being deemed a fundamental principle of their religion. The disconnect present between religious ideals and the modern interpretation of such values is beautifully depicted by Virtosu in this timely and poignant piece.

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existence origin and civilizations female personalities woman national themes love patience, endurance, and struggle dark abstract art abstract art abstract painting oil painting

• Year 2015
• 150x138 Cm / 59x54 In
• Oil / Acrylic Base / Linen Canvas
• Original Edition

Balian of Ibelin (2015)

• Year 2015
• 150x138 Cm / 59x54 In
• Oil / Acrylic Base / Linen Canvas
• Original Edition
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Balian of Ibelin (2015) oil painting Description

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Gheorghe Virtosu

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oil painting / abstract art Banishment of Nun sisters (2017)

Year 2017

145x138 Cm / 57x54 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Gheorghe Virtosu

artist

Banishment of Nun sisters (2017)

Year 2017

145x138 Cm / 57x54 In

Oil / Acrylic Base / Linen Canvas

Original Edition

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Banishment Of Nun Sisters (2017) oil painting Description

Banishment Of Nun Sisters by Gheorghe Virtosu resembles the chaos, in which all the elements are interrelated. The picture’s central figure looks like a jigsaw puzzle with numerous pieces, perfectly fitting each other. In the abstract art work, Gheorghe Virtosu employs a great number of hues, which vary in tones and value. Hence, both warm and cool colors intertwine in the painting, making it vibrant and saturated. Due to the contrasting tones, the abstract figure in the foreground stands out from the muted blue background. The shape of the subject matter is rather curvaceous, as it has prevalently flowing, thin, and curved lines. In addition, the balance is noticeably asymmetrical in the picture, since its right side looks heavier, due to the larger amount of colors and a greater variety of pieces included. "The debasement of values is a shame, not only because the resulting cynicism poisons the cultural well but also because it wastes a great opportunity. Values can set someone apart from others by clarifying its identity and serving as a rallying point for followers." - G. Virtosu. Virtosu’s work is dedicated to the real exclusion of Sister Jeannine Gramick from the School Sisters of Notre Dame in 2000, due to her support of the LGBT community in her speeches. Previously, Gramick had received a number of warnings from the Holy See, concerning her activity. Nevertheless, she, along with Father Robert Nugent, continued to conduct classes on homosexuality and founded the New Ways Ministry in 1977 (“Notification Regarding Sister Jeannine Gramick”). Eventually, the Vatican forbade the two to mention homosexuality in their speeches and written texts. Moreover, they were banished from the New Ways Ministry (“Maryland Nun Faces Banishment”). The abstract painting reflects Gramick’s discord with the Vatican, concerning her right to speak and defend the sexual minorities. Consequently, the painting represents the timeline of the scandal, which begins at the bottom left corner of the abstract figure. There, a mostly homogeneous sphere with different shades of red and orange implies that Gramick did not have troubles in the beginning, since the Vatican did not start to criticize her activity immediately. Yet, there is a small triangular blue mark that must symbolize the interference of the Vatican. Further, marks of various colors intersperse with the monochromatic backgrounds of the other small pieces, which stand for the constant disagreements between the Sister and the Church. Ultimately, the scandal subsides and ends in the upper right corner of the canvas. There, one can see a small orange oval that is falling away from the whole figure, disrupting its structure. This represents Gramick’s final defeat, when she was banished from all Catholic organizations.

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existence origin and civilizations world religions and philosophies disappointment patience, endurance, and struggle rebellious soul-searching contemplation abstract art abstract painting oil painting

Gheorghe Virtosu

artist

Baptism of Jesus

Year 2017

136x136 Cm / 53x53 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Gheorghe Virtosu

artist

Baptism of Jesus (2017)

Year 2017

136x136 Cm / 53x53 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Art Exhibition

Buy Limited Edition

oil painting Description

Virtosu forged a pioneering and ambitious artistic philosophy in tune with a palpable urge to reinvent, regenerate, and to instigate social evolution and cultural revolution. There is no secure sense of what Virtosu’s works mean. They are deliberate, absolute, and masterful, and entirely ready to one’s natural search for meaning, which they seem to ask for. The Baptism of Jesus by Gheorghe Virtosu with it's meticulous formation and the rich colour of red arouse our curiosity and create a unique viewing sensation that is simultaneously solemn and buoyant, exciting and somber. Virtosu’s enterprise suggests a celebration of painting, of its ambiguity and its tensions, of how it comes into being and how this process might be communicated to the viewer. Baptism of Jesus has a characteristically rich and complex patterning. There are visual effects having symbolical interpretations. The painting began as an abstract work, but somehow became more, given the reachness the image reveals. Despite Jesus fate, baptism is a happy and holy event. Upon his baptism in the River Jordan by John the Baptist, an angel descended to Jesus, in the form of a white dove. Should we shift our gaze to the topmost left of the abstract painting, we will see a hand stretched out to a white dove, a white body and two wings. Following that, Jesus heard a voice coming from far above him, telling “You are my son”. The surfaces of Virtosu’s paintings are like fast-moving rivers; emotional currents swell and surge across the canvas. Thick, brushstrokes build up volume and a sense of structural depth, the paint becomes a physical skin that Virtosu moulds into his subjects. Is this representative of the blood Jesus shed during the Passion and the Crucifixion? Should we look carefully at the painting, we will find the purple head like shape, inserted into the green and when freed, assumes a blue color, has a hole in place of his eye. This seems to signify blindness to the truth. Who is blind and who is truthful is open to debate. Colour is deep and sonorous in Baptism Of Jesus. The red of the background fills in the space; Virtosu dissects the reality frame like a doctor, sharp lines distinguish the figures and streams of blood run down the canvas, reinforcing the fluidity of the brushstrokes. Confident lines define the form, yet the sense of movement in the paint gives a sense of transience, an intimate moment in passing. We may assume the black depicting Judas Iscariot who was a disciple and one of the original Twelve Disciples of Jesus Christ. For Virtosu, painting is in constant flux. His sculptural works are indents of life and traces of memory, yet he animates the canvas with a sense of movement like no other. The painting represent a sympathetic and elegant contemplation on existentialist themes.

This art is particularly stimulating or striking - it has to capture a subject and incorporate a message. read more

This art is particularly stimulating or striking - it has to capture a subject and incorporate a message. read more

This evangelical episode is divided into two overlapping horizontal zones joined by multiple intersected figures. read more

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Determined to provide a tailor-made service, transport is carried out by specialised carriers.

Your artwork is packed carefully and insured for transport.

Every artwork is accompanied by a certificate of authenticity signed by the artist.

Payment procedure is totally secured and can be done by card or bank transfer.

TAGS

existence origin and civilizations world religions and philosophies red abstract art abstract art abstract painting oil painting

Gheorghe Virtosu

artist

Baroness (2017)

Year 2017

135x134 Cm / 53x53 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Gheorghe Virtosu

artist

Baroness (2017)

Year 2017

135x134 Cm / 53x53 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Sold

Art Exhibition

Buy Limited Edition

Baroness (2017) oil painting Description

Baroness by Gheorghe Virtosu represents nothing less than the inescapable and incontrovertible apex of the artist’s mature output. Art is considered to be a subjective field, in which one composes and views artwork in unique ways that reflect one's expertise, knowledge, preference, and emotions. The aesthetic experience encompasses the relationship between the viewer and the art object. In terms of the artist, there is an emotional attachment that drives the focus of the artwork. An artist must be completely in-tune with the art object in order to enrich its own creation. As the piece of artwork progresses throughout the creative process, so does the artist. Both grow and change to acquire new significance. If the artist is too emotionally attached or lacking psychological compatibility with a work of art, then this will negatively impact the finished product. According to Bosanquet (1892), the"aesthetic attitude" is important in seeing art as it allows one to consider an object with prepared interest to see what it suggests. However, art does not evoke an aesthetic encounter unless the viewer is willing and open to it. However compelling the thing is, it is up to the beholder to allow the existence of such an experience. "My art having been born in difficult circumstances while I was in detention, was initially set out to prove that people can tame time and they can make it pass in their favor: Creation is the opposite of destruction, and therefore my work was meant to counteract the corrosive process of one wasting themselves away in isolation. With each work, I felt I was one step closer to successfully proving that point." - G. Virtosu. For the Baroness art work or the subject matter, Gheorghe Virtosu applies primarily dull tinges of warm colors, which arepredominately red, orange, and yellow. Apart from this, there are cool blue and pink hues, along with neutral the black and white ones, but they are rather scarce. The lines are prevalently bold, which distinguishes the subject matter from the background and adds a shape to the figures. At times, the artist paints round shapes, but generally the abstract art piece has angular contours, which adds harshness to the painting. Overall, the abstract painting is balanced, since both sides of the picture are symmetrical. The title of the abstract painting suggests that it is dedicated to either a real or fictional baroness. In Baroness, one can notice multifarious creatures, which constitute a single unity. It is hard to discern a woman’s silhouette in the artwork, unless you take time to analyze the figure from diverse angles. Or maybe, the artist have delineated a baroness’s inner world, referring to the symbolic meanings. The psychology of art can be a criticized field for numerous reasons. Art is not considered a science, so research can be scrutinized for its accuracy and relativity. There is also a great deal of criticism about art research as psychology because it can be considered subjective rather than objective. It embodies the artist's emotions in an observable manner, and the audience interprets the artwork in multiple ways. The aims of an artist differ dramatically from the aims of a scientist. The scientist means to propose one outcome to a problem, whereas an artist means to give multiple interpretations of an object. The inspirations of an artist are fueled through his/her experiences, perceptions, and perspectives of the world art movements such as Expressionism are known for the artist's release of emotions, tension, pressure, and inner spiritual forces that are transcribed to external conditions. Art comes from within oneself, and it is expressed in the external world for the entertainment of others. Everyone can appreciate a piece of artwork because it speaks to each individual in unique ways—therein lies the criticism of subjectivity.

To me the art is cohesiveness - empowering people to start thinking of themselves. read more

To me the art is cohesiveness - empowering people to start thinking of themselves. read more

Abstract symbolism and abstract iconography in Virtosu' Peinture read more

NOT AVAILABLE Inquiry

Determined to provide a tailor-made service, transport is carried out by specialised carriers.

Your artwork is packed carefully and insured for transport.

Every artwork is accompanied by a certificate of authenticity signed by the artist.

Payment procedure is totally secured and can be done by card or bank transfer.

TAGS

female personalities woman abstract art abstract painting oil painting