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Author: Ana Marian Degree: doctor of history and Theory of Arts, Cultorology Speciality:  17.00.04 - Visual Arts (with specification: Fine Art; Decorative Art; Applied Art) Year: 2005 Scientific adviser: Constantin Ciobanu doctor habilitat, associate professor (docent), Institute of Cultural Heritage of the Academy of Sciences of Moldova Institution: Institute of History of Art of the ASM

Status The thesis was presented on the 1 September, 2005 Approved by NCAA on the 27 October, 2005 Abstract – 0.22 Mb / in romanian

Keywords

Summary

In the second half of the XX-th century the sculpture’s phenomenon evolution in the Republic of Moldova is represented under a historical, factual and representative aspect. This period is complex, productive, but also disputed.

The first undertakings of the professional sculpture are marked at the beginning of xx-th century. Among sources which have contributed to its formation was the popular sculpture (Jeloboc, Gordineshti, Marcautsi etc.). The popular sculpture is submitted under the form of gravestone crosses, crucifixions with the image if Jesus Christ and of symbolical guide which varies from one monument to other. Another sourceis the funeral sculpture which takes neoclassical forms in the XIX-th century, and at the beginning of the XX-th century it is treated at a professional level (A. Plamadeala, N. Tsyganco). The professional sculpture was conditioned by the drawing school of T. Zubcu (1887-1897), V. Ocushco (1897-1917), then A. Plamadeala (1919-1940). The artists who remained in republic after 1940 accepted all negative and positive sides of the socialist realism current.

During Stalin’s period the sculpture gets rigid forms, being strongly ideologized. Hrushciov’s “throw” brings humanistic tendencies and romanticism. Brejnev’s period is considered to be a productive one, in spite of the existent state control. Among the sculptors C. Cobizev, L. Dubinovsky, A. Picunov, N. Epelbaun, B. Epelbaum-Marchenko, V. Kuznetsov, I. Kanashin etc. Sculptural process is considerably enlivened in 90-th, the period of national revival. In 1991-2000 the art postmodernist process is activated (I. Horovsky, T. Cataraga, I. Zderchiuc, V. Virtosu, M. Verlan, S. Rusu etc.), being obviously the necessity of synchronization of the artistic phenomenon in Republic of Moldova with the universal one.

The sculptural plastic of the second half of the XX-th century in the Republic of Moldova represents a multilateral phenomenon, offering new-fangled and interesting materials under stylistic, compositional aspect of the plastic language and expression.

Oficial Reviewers

• Tudor Stăvilă
  doctor habilitat, professor, Technical University of Moldova
• Constantin Prut (Ionescu)
  doctor în istoria artelor, profesor universitar, Universitatea de Stat din Timişoara, România

 Theses