The initial goal of my visit was to see the Christmas trees, as you may have figured. But hey, one ticket, full access.
Emil Childescu exhibition was the first one I saw. It’s in a small hall directly to the right from the entrance. I loved his sketch and pastel work more than oils, but oddly enough only took photographs of the oil on canvas and sculpture.
His area is portraiture.
To understand why I took a picture of the bust of Vlad Plahotniuc, a man I am strongly inclined to not like, to put it mildly, you’d have to be aware of one of the inside jokes between me and my brother. It involves a bust of Vlad Plahotniuc, which we were pretty sure was fictional. As it turned out, it wasn’t. Our inside joke’s just got more layered.
The hidden benefits of art, eh?
Next, on the second floor, Igor Vieru’s pieces mingled cheerfully amongst the Christmas trees. Definitely a display disadvantage, but unfortunately local museums are not properly subsidised, and the donation bin I saw in the corner is small and sparse.
But it’s a rant for another day. Here are some of my favourites:
This reminds me of one of the scenes in my favourite manga series.
Lilac and Peacock, because I like lilacs and peacocks.
An illustration to Mihai Eminescu’s poem Corrupt Youths. I find that I like illustrations more than I like “general” artworks. Which is a terribly uneducated thing to say, but it’s just how it is. Between ‘art’ and ‘illustration’ as separate concepts I’d always pick ‘illustration’.
An illustration to Eminescu’s poem, O, remain, dear one…
… and to the poem the Brazen Bells of Midnight.
I liked this goat. I dunno why. I like goats.
I believe this was called a Night in July. Maybe it was Midnight.
Imagery of people playing chess fascinates me for the simple reason of my complete lack of understanding of this game.
And we leave the second floor and, subsequently, the building, to visit one of the permanent exhibitions in another block. Please stand by for ikons!