CRITICAL APPRECIATION




"The artist is an awful man;

He does not do the things he can;

He does the things he can not do;

And we attend the private view."



" The window of Alberti", once opened, it subjected the painting of the next centuries to the endless equilibrium between its two principal essences: the reality of nature, the world in three dimensions and the reality of picture in two dimensions.

Painting can suggest the phantasm of the space, as one natural extension of physical reality; she stays however a plain surface, marked by the specific data of the panel with two dimensions.

To opt for one of these variants it is, basically, a more or less modified problem, of perspective, a science (or an arte?) so well-known as we forget to be more in charge of her.

Zamfir Dumitrescu


“My artistic formation is based on the old ones’ knowledge. I was Corneliu Baba’s student and I am, deeply fond of the color’s harmony, the sonority of the shades, the musical character of the oil painting. Living with some kind of romantic regret, many young painters detach themselves from painting trough painting. A necessary detachment, because the traditional images compulsorily look for a place in museums, being replaced by new ones, suitable to the present time.”

Zamfir Dumitrescu, “Bucharest Information” newspaper 28th of October 1972


"...ZAMFIR DUMITRESCU showed a rigorous discipline in his job, a fact that did not always helped him to complete successfully what he had offered to make...Its intellect, feelings, artistic intuition, inventive fantasy, all these traits which helped him to contour the artistic personality, are completed by an impressive tenacity, an interesting tact to be followed and to take as example, a big rank of lucidity in what he wants to accomplish, clear supporter all at once also the complex picture of the way which he must cross and the final purpose..."

Corneliu Baba - 1970

“...Maybe the first things that draw attention to the bystander in Zamfir Dumitrescu’s painting is the extreme clarity of the composition. His images are impeccably built with a safe hand that doesn’t hesitate. It is felt immediately that he reached to the final expression after a suite of mental elaborations, in which all the details have gradually specified their function and their meaning. We find ourselves, without any doubt, in front of a brilliant painter, who besides the fact that he knows to speculate the effects of the material, he also knows how to put together symmetrical assemblies, where the idea could discreetly prevail over the feelings. Is this meaning that Zamfir Dumitrescu has a dose of celebrity, which tends to impose itself to the direct and spontaneous emotion detriment? The answer to this question is quite complex and can be correctly given, we think, only after getting a certain familiarization with the painter’s artwork.

We must keep account first of the fact that ZAMFIR DUMITRESCU has a visual culture, that far exceeds the scope of constant contact with the works of art. Then we must keep account that the visual culture has been grafted organically based on a solid training in different fields of the human disciplines. He is, as it is said with a critical expression (become common place), a cult artist…”

Grigore Arbore - 1980


A case more complex is the one of Zamfir Dumitrescu. (Orizont Gallery) Author of some interesting works of painting’s theory, the artist is consequent with himself in each artwork which he illustrates to the public. For him, the realism of the image doesn’t mean just an illustration of a temperamental predisposition; he is without any doubt a constructor of the image which rationally ordinates itself on a strong reinforcing. But this is the consequence of a close analysis of the universe, which is being presented to his sight and to which Zamfir Dumitrescu searches for the inner meanings.

It is said, and not without a base, about the romanticism of this artist’s temper of an inflexible precision of the pictorial notation. My impression is that, according to his evolution, he manages to repress these impulses and to subdue them to a severe logic of construction.

Dan Grigorescu, “Free Romania” newspaper, 18th of May 1987


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