The exhibition is focused on landscape and still nature and includes a selection of representative works from the World Painting Collection of ”Țării Crișurilor” Museum, owed to the Italian, French, Austrian, German, Hungarian, Flemish and Spanish schools. The pictures point to important stages in the development of the two genres throughout the 17 th -19 th centuries. The works capture the transition from the contemplative, symbolic and allegorical landscape, developed during Baroque era, to the romantic, realistic, impressionist and post-impressionist landscape.
The art of the 17th-18th centuries corresponds to the Baroque style, an important stage in the creation of the landscape as an autonomous genre. The idealized landscape from the 17th to the 18th century is illustrated by works from the Roman School, marked by the lasting influence of Claude Lorrain (1600-1682) and the Venetian School. The scenic designer of the décor inspired by biblical and mythological themes combines realistic detail with a lyrical dimension in compositions defined by classic harmony and balance. Nature is rendered in the spirit of an ideal beauty, with reference to the architectural vestiges of the past. The Vanitas type still nature is made in the same Baroque style, owed to a Flemish artist from Frans Snyders School (1579-1657).
The romantic landscape of the 19th century is illustrated by the Hungarian School, which combines idealization with the passion for medieval vestiges in the Késmárk Fortress and the Landscape signed by Brodszky Sándor (1819-1901). From the same school, Nandory P’s Still Natures impress throu the suggestion of light reflexes. The realistic landscape is illustrated by L. Lespigain – the French School (1898). The German school of the 19th century is represented by Adolf Stademann (1824-1895). Realism is also predominant in Still Nature signed by painter Carl Moll (1861-1945) of the Austrian School.
The late 19th century Impressionism reconfigures the landscape by integrating the importance of plein air, the weather phenomena and solar reflexes. French Impressionism is illustrated by the remarkable aquatic landscapes signed by Fernand Le Gout- Gérard (1856-1924). The German school is represented by Max Liebermann (1847-1935), also called the “Manet of the Germans.” He is considered the most prominent representative of German artistic modernism and the founder of the Berlin Secession in 1899.
In the direction opened by Cézanne, the French post-revolutionists rediscover the importance of the “constructive landscape”, with geometric interpretations of shapes, assimilated by Victor Vignon’s in his creation (1847-1909). Painter, engraver, sculptor, Jean-François Raffaëlli (1850-1924) expressed herself in strong realistic manner when depicting sequences of ordinary life.
The urban landscape of La Belle Epoque is illustrated in an original way in the creation of Ricardo Diaque (1853-1925) from the Spanish School.


27. 02. 2019
Dr. Agata Chifor, museographer S IA, PhD