CRITICAL REVIEW


        His preference for precise and expressive forms represents an artistic Romanian inheritance received from his professor Dimitrie Paciurea during their lessons, but also a consequence of the direct knowledge of the French cultural medieval heritage. He discovered these forms in pure expressions, but also as an influence for the neoclassical art or for the art of some modern sculptors as Auguste Rodin, Antoine Bourdelle, Henri Maillot-Rosély, Charles Despiau. Such cultural influences and the personal understanding he had on sculpture made the difference between him and Brâncuși. Gheorghe Anghel does not reject the experiences of the impressionism in sculpture (Rodin), neither of the sculptors that developed their art in this direction. The artist does not consider as being impure neither the modelling, bearer of sensations, nor the formal "accident", effect of the concrete expression of the limned character.
        He preserves a classic ideal, in the sense of a permanent human being structure, of an inner force characterized by unfailing clarity, an ideal which he wants to personalise by adding a modelling sensitive to the spiritual and emotional life of the character, to the light incidences, to the unexpected moment which reveals him a destiny. This vision is the reason why he often works in bronze and hardly ever in stone (the bust of George Enescu in front of George Enescu Philarmonic in Bucharest). Anghel records the faces exactly the way he observes them. When it comes to symbolic compositions (Prayer, Scholar, Victory, Music), he invests them with his inner lyric tensions / anxieties. He uses the same method when he sculptures commemorative portraits  (Charles Baudelaire, Nicolae Bălcescu, Vasile Pârvan, Ion Andreescu, Ștefan Luchian, Mihai Eminescu) or to sculpture statues of the people he met during his life (Dimitrie Ghiață, George Enescu, Valentin Gheorghiu, Maria Tănase, Irinel Liciu, portraits of peasant women). His art is characterised by a combination between austerity and spontaneity and his artworks manifest a solemn attitude no matter if the works are representation of his meditation or of the heroic impetus. His masterpieces are the statue of the painter Theodor Pallady (in the collection of the Art Museum from Craiova) and the statue of Mihai Eminescu (in front of the Romanian Athenaeum from Bucharest). In Theodor Pallady the artist reiterates, to some extent, the theme of the Scholar (1938) in order to create a symbol of wisdom with the intention to retire into deep philosophical meditation, but keeping his eyes wide opened to perceive the facts the experience of real, concrete life provides him with. The statue of Mihai Eminescu was preceded by some other busts he sculptured to the writer (they are placed in front of the Theatre from Botoșani, in Craiova or in Turnu-Severin) and it sustains what the critic Petru Comarnescu was writing about Anghel's art: "his art is congenial with the art of the writer due to the similarities found in the lyricism both of them express, due to their mutual ideals..."
 
Constantin Prut
 


IMAGES



    BIOGRAPHY

    (Turnu Severin, 1904 - Bucharest, 1966)

    Academic studies:
    1924 - 1937 - National School of Fine Arts, Bucharest, with professor Dimitrie Paciurea; School of Fine Arts, Paris, with Jean-Antoine Injalbert, Constantin Brancusi.
     


    PROJECTS

    Exhibitions:
     
    Solo Exhibitions*:

    1943, 1945, 1966 – Dalles Hall, Bucharest;
    1956 - Medrea Museum, Bucharest (D.A.);
    1967 - Museum of Art, Craiova (D.A.);
    1970 - Collection "Al. Bălintescu "opens with works by Gheorghe Anghel (D.A.);
    1979 - Retrospective Exhibition, National Museum of Art of Romania (D.A.).
     
    Group Exhibitions:

    1929 - Société des artistes français, Paris (D.A.);
    1932, 1935 - French official Salon, Paris;
    1933 - Independents Salon, Paris;
    1940, 1944, 1945, 1947 - Official Salon, Bucharest;
    1948 - State annual exhibition "The Flame", Bucharest (D.A.);
    1954 - Venice Biennale;
    1955, 1956, 1957 - Interregional Exhibition, Bucharest;
    1958 - Art Exhibition, Moscow;
    1960 - Romanian Art Exhibition: Bratislava, Prague, Cairo, Alexandria, Athens, Leningrad, Moscow;
    1961 - Romanian Art Exhibition: Paris, Ankara, Istanbul, Damascus, Sofia;
    1966 - Romanian Painting and Sculpture Exhibition of the twentieth century, Berlin (D.A.);
    1970 - Victory against fascism Exhibition, Warsaw (D.A.);
    1968 - The exhibition at the national conference of the Union of Plastic Artists;
    1972 - National Museum of Art, Bucharest;
    1978 - „100 years of Romanian art ", London;
    1979 - National Museum of Art, Bucharest.
     
    Monumental sculptures:


    1929 - Bust Bust of Roman origin actor Jean Yonnell, Foyer of the French Comedy, Paris;
    1937 - I.H. Paulian, Turnu Severin (D.A.);
    1938 - Theodor Pallady, Museum of Craiova;
    1945 - George Enescu, Romanian Athenaeum, Bucharest (D.A.);
    1956 - George Enescu, Liveni (D.A.);
    1958 - Mihai Eminescu, Botoșani (D.A.);
    1965 - Mihai Eminescu, Mihai Eminescu Athenaeum, Bucharest (D.A.)
    Awards and Prizes:
    1940 - Premiul „Anastase Simu";
    1946 - Premiul I al Salonului Oficial;
    1947 - Premiu Meritul Cultural;
    1954 - Ordinul Muncii clasa a III-a; Maestru emerit al artei;
    1964 - Ordinul Muncii clasa a II-a;
    1966 - Artist al poporului.

    * Solo Exhibitions: 1935, 1940 - Paris; 1956 - București; 1967 - Craiova.
     


    BIBLIOGRAPHY

    Fundația Culturală META, Un secol de sculptură românească. Dicționar A-D, Colecția SINTEZE, Editura META, 2001, pp. 32 - 35.
    Vlasiu, Ioana (coord.), Dicționarul sculptorilor  din România. Secolele XIX-XX, vol. I, lit. A-G, Editura Academiei Române, București, 2011, pp. 26 - 28.

    Comarnescu, Petru, Gheorghe D. Anghel (catalog), București, 1966.