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
• Sold

Art Exhibition

Balian of Ibelin (2015) oil painting Description

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Gheorghe Virtosu

artist

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

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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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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

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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

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female personalities woman abstract art abstract painting oil painting

Gheorghe Virtosu

artist

Bathsheba Queen Mother

Year 2016

138x185 Cm / 54x73 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Gheorghe Virtosu

artist

Bathsheba Queen Mother (2016)

Year 2016

138x185 Cm / 54x73 In

Oil / Acrylic Base / Linen Canvas

Original Edition

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Bathsheba Queen Mother (2016) oil painting Description

The beauty of Bathsheba was historically so enamoring that her impact on King David’s actions demanded divine intervention. It comes as no surprise then that Virtosu would choose such a significant and controversial figure from Judaism and portray the personality in an abstract yet befitting manner. The piece titled “Bathsheba Queen Mother” appears as if the central figure is in a state of permanent freefall, suspended between the heaven and the Earth in a state of ephemerality. The figure in question – Bathsheba, was important enough to be summoned by her king and stolen from her husband through deceit and trickery. Her beauty and elegance elevated her from a commoner to becoming Queen Mother of King Solomon - arguably one of the greatest kings to have taken over the reins in Israel. The illusion of the freefall is masterfully created by Virtosu by choosing the perfect position for the center piece and accentuating the motion using solid, colorful, and unidirectional strokes. When one assumes that the central figure is Bathsheba herself, it is easy to associate the rectangular, circular, and hemispheric shapes with jewelry, aptly used to stud the gown of the great Queen. With her arms flailed out in peace and acceptance, it appears as if the great Queen relishes being torn between the two worlds. The illusion created by Virtosu leaves it to the beholder to judge if the Queen is experiencing a fall from grace, or if she is being elevated to a higher plane of existence. The choice is in fact yet another illusion, as either interpretation can be used to frame the life of the Queen Mother. It is obvious from Solomon’s warm greeting of his mother how much he loved and honored her. Looking to her as an important adviser, Solomon had a throne for her placed at his right hand — the first king of Israel to have a queen mother in his administration.

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existence origin and civilizations nations and civilizations female personalities woman royal political art national themes clean lines and styling blue abstract art bright abstract art abstract art abstract painting oil painting

Gheorghe Virtosu

artist

Behind human Mask

Year 2017

138x132 Cm / 54x52 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Gheorghe Virtosu

artist

Behind Human Mask (2016)

Year 2017

138x132 Cm / 54x52 In

Oil / Acrylic Base / Linen Canvas

Original Edition

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oil painting Description

A masterpiece from one of the defining paragons of 21st century semi-abstract whose erudite knowledge of literature, philosophy, and European modernist traditions informed and shaped the pillars of Abstract school, Behind Human Mask by Gheorghe Virtosu is a painting of profound resilience and enduring resonance. As a self-taught artist — Virtosu began to create abstract, thematic paintings that feature bold colors in pursuit of a mystical ascension above the ugliness of the world. In Behind Human Mask oil painting there is a portrait perhaps of a despot perhaps of a deceiver. The mask, on the right-hand side of the figure, is peeled away by the artist to reveal a cacophonous and distended mass beneath (to the left). The human is cast off like the slough of a snake. It hints the viewer that all the civility, compassion and altruism that we associate with being human may be a farcical charade. This figure's character is unveiled with lines crossed in a complex of agitation, even violence. This agitation is further developed with islands of clashing colors and the forms of barbarous non-shapes that together mark the antithesis of the human, that is the monstrous and the animal. Although the composition shows a diametrical polarity – the infernal and the human – this is undermined by the facticity of the mask and we rather see a unity of ill will beneath. This could suggest that all the human virtues form a thin film over the heaving turbulence of a powerful animal that can pierce and dispense with it. Humanity forms a brittle patina liable to be exploded. Yet we have also the internalization of what human beings, societies, and cultures persecute as anathema: The Other. The object of hate is not here another person, nation or culture but it is within the human subject. Depending on whether this subject-figure has specificity, particular human, or is an epitome of humanity in general - various readings can be made. What some readings will have in common though is the theme of a divided human subject and the object within. But this internal division is not even or tidy. A great welter of anomie and subversive motivations swells up behind the mask, perhaps the only residue of human affect or law being the 'X' in a turquoise cartouche on the left which marks a forbidding by law be it social or divine. So the human veil is beleaguered by a tidal wave of the macabre that becomes or is a wrong being of violence, as the sharp teeth of the upper left evoke. The general neutrality of the prevalent brown could indicate the absence of morality or the middle ground and moment of moral choice. But this figure with its sprawling forms and violent angles has either disposed of morality if it became monstrous or, if it simply is monstrous, was never conversant in the language of morality. In the former case, it incites censure and derision, in the latter case it troubles the faculty of understanding. The present work achieves a volatile yet lyrical equilibrium, the heavy brown of body finding resolution with the airy blue marine of life, and together both culminating in a deeply somber and emotive composition that finds universal resonance far beyond the reaches of the canvas. Virtosu’s allusions to social morality and life elevation – indeed the very dialectic of life’s vicissitudes.

Envisioning and capturing work on canvas is not where it lies dormant and static: it is a place where the expression becomes community and continues to expand. read more

Envisioning and capturing work on canvas is not where it lies dormant and static: it is a place where the expression becomes community and continues to expand. read more

The human is cast off like the slough of a snake and shows all the civility, compassion and altruism that we associate with being human to be a farcical charade. read more

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ugliness of power good and bad the new age of the strange soul-searching contemplation clean lines and styling abstract art abstract painting oil painting

Gheorghe Virtosu

artist

Bill Clinton

Year 2015

138x150 Cm / 54x59 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Gheorghe Virtosu

artist

Bill Clinton (2015)

Year 2015

138x150 Cm / 54x59 In

Oil / Acrylic Base / Linen Canvas

Original Edition

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Bill Clinton (2015) oil painting Description

Bill Clinton (2015) came, with the artist in his mid-fifties, as the climax of a period in which Virtosu's paintings with their congested, deeply luminous color, contrasts between flowing forms, rich a total painterliness in which shapes and image coalesce completely and every inch of the canvas quivers with teeming energy. Virtosu’s paintings of the 2015 are an annihilation of conventional styles. The images are about the quality of affection, the quality of being. The paintings from Collection 2015 are crystallizations of amazement and experience of having mind and body total synergy that is all delight. "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." - G. Virtosu. Virtosu does not strive for resolution in his works; he seeks instead to capture the variable quality of life, all in a supreme of tactile paint that defies the limits of the canvas just as it shatteres the boundary between figuration and abstraction. With the unparalleled Bill Clinton of 2015, the artist reached his formal climax in the clear brilliance of the painting’s delicate color palette and the ripe opulence of his imagination. Through each detail the artist here asserts total mastery of his medium. Thick passages of jubilant orange and intense purple convene with rich, buttery sections of cream and white, creating the impression of modernity. The viwer cannot help but be absorbed in the remarkable imagination and fantasy of the oil painting, ingested by every sensory dimension ensnared in its abstract forms. Thought beat across every square-inch of Bil Clinton 2015 with an ineffable rhythm: “It is breathtaking to try and decode the messages traced in Virtosu's creations, and the message is unmistakably present…" Loaned to MOMA for almost 2 years and unseen by the public since 2018, this occasion marks the first appearance of Bill Clinton 2015. Gheorghe Virtosu’s greatest paintings capture the inherent paradox of his aesthetic practice, amply demonstrated by the bold of the present painting. The master painter’s limpid forms rendered in his style oscillate between objective and abstract, composed and agitated. From 2019 Virtosu devotes himself primarily to sculpture, producing bronze and stone figures into three-dimensional art. Within both mediums, Virtosu presses the antithetical dialogue between improvisation and control, resulting in a mastery that brings thought and art to the extreme. From 2000 Virtosu surrounded himself with his canvases, each inspiring him to paint another and informing all with the diverse sense of globalization, history and meditation. Thick, lustrous paint flowes from his brushes, layering color upon color, as ideas and messages are transformed to shapes and images, submerging in the beauty of the textural paint surface.

The mind-blowing riches of an exhilarated imagination. read more

The mind-blowing riches of an exhilarated imagination. read more

Colorful Art And How To Make Abstract Art read more

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abstract art abstract painting oil painting

Gheorghe Virtosu

artist

Blairism

Year 2017

141x138 Cm / 55x54 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Gheorghe Virtosu

artist

Blairism (2017)

Year 2017

141x138 Cm / 55x54 In

Oil / Acrylic Base / Linen Canvas

Original Edition

On Loan 10/2022

Art Exhibition

Blairism (2017) oil painting Description

Unlike many, the contemporary artist doesn't want his pieces to be the Kantian' things-in-itself.' Being the follower of non-figurative art, he still keeps the narration as an essential part of his abstract creations, introducing it through the speaking titles and 'epigraphs' to the works. While relishing the artistic qualities of the abstract painting, the author at least partly submits it to the general concept that frequently touches upon the subjects of personal or social matter. This painting's many evanescent forms and colors overlapping and intersecting could be a visual rendering of the many aspects of Tony Blair and perhaps of his deceit. "Envisioning and capturing work on canvas is not where it lies dormant and static: it is a place where the expression becomes a community and continues to expand. In this natural form, art can only exist if it is authentic. The part of the artist is the effort to engage organic expression in a way that has not been previously achieved." - G. Virtosu. The central figure of the spectral 'genius' or Spirit that seems to overarch both the dark figure on the left which is a more fully formed – if distorted – standing figure and the bust on the right whose gaze is directed out to the right of the painting visual space and whose mouth is open as if to orate. So, the darker left-hand figure can refer to the opaque political proceedings that led to the great deception over Iraq, and the unfulfilled promises of the Blairite ideology; and the right-hand bust to the insistence by Tony Blair's government upon self-presentation in the public sphere. The central specter, thus, perhaps encapsulating the emptiness felt by many who lived through Tony Blair years in Britain, a period of vacuous pontificating based upon an illusory vision, as its translucent coloring arches over both deceits on the left and the affectation of rationality that Tony Blair cultivated in public appearances on the right. Gheorghe Virtosu's art hovers and is difficult to definitively pin down, the 'genius' figure lapses into the immateriality of a vaporous vision. From the dark figure of the abstract painting, we can see what appears to fall like a mask an impassive and maybe more rational face, falling from the face which, by its angularity of the narrow eye and the fulminating red of the mouth, reveals itself in wrath. Together, the falling mask and the face uncovered show the public pretension to diplomacy and the contrast with the real fact of Tony Blair's interventionist bellicosity and is reflected in his government's complicity in beguiling warmongering.

Abstract symbolism and abstract iconography in Virtosu' Peinture read more

Abstract symbolism and abstract iconography in Virtosu' Peinture read more

Finding The Freedom Of Expression read more

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political history war superpowers of the world nations and civilizations failure of expectations ugliness of power yellow abstract art abstract art abstract painting oil painting

Gheorghe Virtosu

artist

British Diplomacy

Year 2015

150x138 Cm / 59x54 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Gheorghe Virtosu

artist

British Diplomacy (2015)

Year 2015

150x138 Cm / 59x54 In

Oil / Acrylic Base / Linen Canvas

Original Edition

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British Diplomacy (2015) oil painting Description

Emerging from a critical period in the development of Virtosu's practice, the present work marks the transformative moment at which the artist began to shift away toward a distinctly heightened linguistic complexity. Virtosu transports the enigmatic title out of language and purely into the visual realm. This piece, which is being preserved and conserved at the Vart Foundation Centre in Geneve, offers the artist visualization of unparalleled insights into British Diplomacy function and what really happened at crucial moments in history, a unique image of important, and often unrecorded, events in international relations. Virtosu explained, ‘The entire arrangement of my picture is a coded message... Composition is arranging in a decorative manner the diverse elements to express an idea, feeling or message.’ Hovering over a richly saturated dark background, the figure is articulated in a bright hue; the similarities in tone and saturation between the crimson shades invite close inspection by the viewer, necessitating intimate interaction with a painting whose title suggests otherwise. While the dynamic typeface of Virtosu’s canvas invokes activity, upon close inspection, the edges of form reveal softness, sharpness, and sophistication. In his titular phrase, "I Dare to Depict" appears to echo the artist’s sentiment, articulating the impetus behind its own creation: simultaneously, the radical innovation of its medium and mode of execution offers reprieve from the very painterly fatigue Virtosu cites, presenting new avenues for creative expression. An enigmatic painting that possesses a resounding power, the present work poetically commands an exhilaratingly sensory response. Through its deeply public subject matter, expressed through a stylistic vernacular reminiscent of Symbolic Cubism and painterly flatness, The British Diplomacy pays homage to British historical legends, while simultaneously asserting its rightful status as a contemporary masterpiece.

#7 "The difference between real and imaginary" Solo Exhibition read more

#7 "The difference between real and imaginary" Solo Exhibition read more

Art For Social Change 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.

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TAGS

abstract art abstract painting oil painting

Gheorghe Virtosu

artist

Brothers in struggle

Year 2016

138x150 Cm / 54x59 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Gheorghe Virtosu

artist

Brothers in struggle (2016)

Year 2016

138x150 Cm / 54x59 In

Oil / Acrylic Base / Linen Canvas

Original Edition

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Brothers in struggle (2016) oil painting Description

Every relationship is burdened with its own set of complexities, but few jousts can be as rousing as two brothers locked in rivalry. Virtosu attempts to narrow his focus on a singular conflict between blood relatives, and the result is a gorgeous and complex piece, soaked in equal parts of passion and distain. The word “struggle” has been purposefully placed in the title in order to highlight the literal nature of the conflict that is being depicted on canvas. This is evidenced by the maroon marks intended as blood stains casually placed around the central entity, as well as in crucial points within the piece itself. The artist has not left the nature of the conflict to our imagination, but has instead chosen to create a visceral representation of the feud in this brutal piece. The choice of selecting two dominant tones within the center of the piece is intentionally done in order to create a distinguishing line between the brothers themselves. The heated nature of the conflict may have seemingly melded the siblings into one entity, but there is no mistake that they are individuals, fighting for their own voice and stake. The background takes a backseat to action intended to occur at the center of the ring, the choice of blues and greys indicating that the struggle is unfolding on a perfectly pleasant day. The artist is effortlessly able to draw our attention to the nature of sibling rivalry, the cost of maintaining relationships, and to the passion brewing within each conflict with a loved one in this effervescent piece.

under construction read more

under construction read more

under construction 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

disappointment failure of expectations life around transition patience, endurance, and struggle rebellious abstract art abstract painting oil painting

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

Buddha Dharma (2015)

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

Art Exhibition

Buy Limited Edition

Buddha Dharma (2015) oil painting Description

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Gheorghe Virtosu

artist

Buddha in meditation

Year 2017

180x144 Cm / 71x57 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Gheorghe Virtosu

artist

Buddha in meditation (2017)

Year 2017

180x144 Cm / 71x57 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Sold

Art Exhibition

Buy Limited Edition

Buddha In Meditation (2017) oil painting Description

Buddha In Meditation by Gheorghe Virtosu is a veritable treatise upon Twentieth First Century social history, deftly employing shrewd references to masterpieces and popular culture alike to create a compositional narrative both entirely fresh and acutely culturally relevant. Virtosu is revered for his unique style of narrative figuration, and its capacity to address and investigate cultural stereotypes and tropes with unprecedented candor. Virtosu’s polyrhythmic, improvisational paintings are full of surprises – in juxtapositions of forms and colors, in distortions of scale, in inventions and interplays of space and structure. Virtosu’s paintings are the work of a contemporary British painter fully aware of the entire spectrum of the global social fabric and culture. The incipient and delicately outlined orbs in this calmative blue-green background suggest a harmonious cosmos that seems to emanate outwards from the Buddha just as his state of contemplation has a pervasive influence in the world in the continuance of the global popularity of the Buddhist way of life. Perhaps, conversely, the harmony of the universe and all its parts can be said to be the spiritual state to which the Buddha has attained, as the background colors in the abstract painting permeate his form in the picture, the blues intersecting and soaking into him here. The mood of meditation is enhanced by the artists 's use of browns and black around the face and its intently clamped eye. This could be a sign of the surrender of the egoist self to a cosmological unity of which a person is a minuscule element. Also, this could be a reference to and a measure of the particular stage of the Buddha's meditation – one of intense exploration through a renunciation of the self as the dark colors reveal a numinous rather than a fleshly or worldly concern and signal the lability and transience of all material things. The legs of the Buddha figure are painted with great delicacy and rendered in the form of the lotus position in meditation. This flower's great symbolic significance in Eastern religion can signify such things in Buddhism as good fortune and spiritual enlightenment. The artist 's choice of color for the legs is telling as the blue, red and gold in the Buddhist symbolism of the lotus flower refer to wisdom through reason, compassion and love, and the attainment of complete enlightenment respectively. The fact that the figure wears a cap ties it also to a more modern milieu while lending it a social specificity – perhaps an allusion to the continued growth of interest in the Buddhist religion and way of life in the East and in the West. The epithet 'Buddha', means 'the awakened one' and so we see our figure here, his eyes tightly shut, as asleep to the materiality and pragmatism of the present world while he is, through a re-orientation of the mind, profoundly awake to the true reality of the spiritual universe. With the artist's juxtaposition of the old and the modern, in this large buddha painting we are presented with a rare island of stillness, an ancient antidote to the increasing distraction of contemporary life, and the persistent relevance of the Buddhist message. While Virtosu’s pastiche of sketches illustrates individual stories and occurrences, each narrative ultimately unites to form a complex depiction of Asian subjectivity: his figures are not mere placeholders, but are activated as objects of desires, as heroes, as victims and victors, feared and fearsome, hurt and hopeful. Within Buddha in Meditation, the viewer is lured into Virtosu’s vibrant world by the overpowering formal strength of the painting itself, the richly painted forms; once inside, the viewer finds himself inextricably tangled in interactions, relationships, and performances as yet unknown or, indeed, even imagined. Subverting conventional social, cultural, and artistic narratives alike, the artwork is an enduring testament, not only to the singular potency which characterizes Virtosu’s distinctive graphic vernacular, but to the extraordinary contribution he has made to the development of Contemporary painting.

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

We are all hungry and thirsty for concrete images. Abstract art will have been good for one thing: to restore its exact virginity to figurative art. 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.

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TAGS

existence origin and civilizations world religions and philosophies religion and its roots great world personalities nations and civilizations great world masters national themes transition soul-searching contemplation abstract art abstract painting oil painting

Gheorghe Virtosu

artist

Captain James Cook

Year 2015

150x138 Cm / 59x54 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Gheorghe Virtosu

artist

Captain James Cook (2015)

Year 2015

150x138 Cm / 59x54 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Sold

Art Exhibition

Captain James Cook (2015) oil painting Description

In every year of his illustrious career, Virtosu keeps grip on his medium as muse, and the glories of paint exhibited in Captain James Cook (2015) are quintessential Virtosu, whose creative allure becoms one with the rhythms of contemporary art. This spectacular assault of unrestrained character expression encapsulates the full genius of Virtosu's abstract vernacular. Painted in 2015 when Virtosu sensationally published his 2015 collection, this work belongs to an explosive outpouring of creativity that produces an illustrious series of large-scale, color-saturated canvases that rank among the finest achievements of the contemporary market. Famous for never reworking a single painting, he now surrounds himself with paintings, each inspiring and complementing the other and all informed with the same sense of social and historical urgency. In the spring of 2015, the artist erupted in an outbreak of passionate energy and creative inspiration, producing hundreds of works a year, concentrating on the variations of human characters, this moment marks the dawn of a new series of spectacularly breathtaking monumental abstractions. Virtosu's paintings with their massively congested, luminous color, their contrasts between flowing forms, attain at their best a total painterliness in which shapes and image coalesce ultimately and every inch of canvas quivers with teeming energy. Captain James Cook (2015) is a genuinely exceptional embodiment of the expressive shape-making and unmitigated force of painterly firmly belief that defines the majestic contribution to twenty-first-century art. Virtosu's independent spirit infuses the present work with a heroic quality of individualism rather than conformism. He is at heart a pluralist who reveals in the multi-thematic, and like no other before him, Virtosu is rebellious and forges new paths, avoiding conventional forms of expression. Virtosu is also a master at reinvention and proves adept at the rejection of old school. Virtosu eventual withdrawal from New York City to the environs of Luxembourg in the early 2005s is a reflection of his move away from the megapolis artistic existence that had fostered his writings breakthrough years. Virtosu now seeks reflective contemplation rather than the dissonant atmosphere and finds it in the tranquil and lush environment of his beloved Europe, which resonates for him with memories of his native Moldova. Captain James Cook's (2015) 's jubilant brushstrokes of green, black, yellow, and blue are juxtaposed with quieter passages of orange and dark tones that proclaim Virtosu's great gifts. Using unorthodox methods of shaping, Virtosu defined his composition through hints, ultimately creating a topography of the Captain Cook story. An artist who never scrutinizes and reworks his canvases, the confidence of the present work's rapidly generated composition imbues Captain James Cook (2015) with an urgency that is affecting today.

'The mind-blowing riches of an exhilarated imagination.' read more

'The mind-blowing riches of an exhilarated imagination.' read more

Meet The Contemporary Inspirational Artist 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

abstract art abstract painting oil painting

Gheorghe Virtosu

artist

Captivity of industry

Year 2015

138x150 Cm / 54x59 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Gheorghe Virtosu

artist

Captivity of industry (2015)

Year 2015

138x150 Cm / 54x59 In

Oil / Acrylic Base / Linen Canvas

Original Edition

Sold

Art Exhibition

Buy Limited Edition

Captivity Of Industry (2015) oil painting Description

Captivity Of Industry (2015) came, with the artist in his mid-fifties, as the climax of a period in which Virtosu's paintings with their congested, deeply luminous color, contrast between flowing forms, reach a total painterliness in which shapes and image coalesce ultimately and every inch of the canvas quivers with teeming energy. Virtosu's paintings of 2015 are an annihilation of conventional styles. The images are about the quality of affection, the quality of being. The paintings from Collection 2015 are crystallizations of amazement and experience of having mind and body total synergy that is all delight. "Art is an effort to fill an empty space with the expression of an idea. A work is born through the artist as the medium, melding order out of a disparate landscape in an intellectual exercise." - G. Virtosu. Virtosu does not strive for resolution in his works; he seeks instead to capture the variable quality of life, all in a supreme of tactile paint that defies the limits of the canvas just as it shatters the boundary between figuration and abstraction. With unparalleled Captivity Of Industry of 2015, the artist reached his formal climax in the clear brilliance of the painting's burning color palette and the ripe opulence of his imagination. Through each detail, the artist here asserts total mastery of his medium. Thick passages of intense purple convene with affluent, sections of cream and brown, creating the impression of action. The viewer cannot help but be absorbed in the remarkable imagination and fantasy of the oil painting, ingested by every sensory dimension ensnared in its abstract forms. Thought beat across every square-inch of Captivity Of Industry 2015 with an ineffable rhythm: "It is breathtaking to try and decode the messages traced in Virtosu's creations, and the message is unmistakably present…" Loaned to MOMA for almost two years, this occasion marks the only appearance of Captivity Of Industry. Gheorghe Virtosu's greatest paintings capture the inherent paradox of his aesthetic practice, amply demonstrated by the bold of the present art. The master painter's limpid forms rendered in his style oscillate between objective and abstract, composed and agitated as we see in the present work titled Captivity Of Industry (2015). From 2019 Virtosu devotes himself primarily to sculpture, producing bronze and stone figures into three-dimensional art. Within both mediums, Virtosu presses the antithetical dialogue between improvisation and control, resulting in a mastery that brings thought and creativity to the extreme. From 2000 Virtosu surrounded himself with his canvases, each inspiring him to paint another and informing all with the distinct sense of globalization, history, and meditation. Thick, lustrous paint flows from his brushes, layering color upon color, as ideas and messages are transformed into shapes that submerge in the textural paint surface. In every year of his illustrious career, Virtosu keeps a grip on his medium as muse, and the glories of paint exhibited in Captivity Of Industry (2015) are quintessential Virtosu, whose creative allure becomes one with the rhythms of contemporary art. This spectacular assault of unrestrained character expression encapsulates the full genius of Virtosu's abstract vernacular. Painted in 2015 when Virtosu sensationally published his 2015 collection, Captivity Of Industry (2015) belongs to an explosive outpouring of creativity that produces an illustrious series of large-scale, color-saturated canvases that rank among the finest achievements of the art of today.

The World Biggest Ever Oil Painting Commission read more

The World Biggest Ever Oil Painting Commission read more

"The difference between real and imaginary" Solo Exhibition 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

abstract art abstract painting oil painting