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HOME PAGE HISTORY ARCHAEOLOGY PROJECTS GUESTBOOK CONTACT | ||||
| PRESENTATION BIOGRAPHY CRITICAL EXCERPTS WORKS VISITOR INFORMATIONS HOME PAGE | |
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... "Head of a young man" by Vasile Blendea is an extremely valuable work which allows us to have high expectations from this artist at the beginning of his career.
The classical purity of the lines, the juvenile and masculine air perfectly expressed are qualities
which can not pass on unnoticed..."
Clement Morro 
..." But across the sculptor's appreciation we also discover a painter of intense sensibility and artistic distinction for whom the truth and love for nature option were a creed."
Mircea Deac ... The nobility of the characters' attitudes having always a dignified and reserved tragidity, their state of inner tension discreetly underlined, make of these monuments not only undisputed successes, under a formal point of view, of the genre. They constitute a genuine check point for what we also now understand by moral, civical value of art...
Grigore Arbore 
..."The plastic event of those days is marked by the Vasile Blendea retrospective from Dalles hall. The interest in the exhibited works (sculpture and painting) is concerted with the joy of (re)discovering an artist of an authentic value who, at the age of 8 decades, has a creation which deserves entering the gallery of the national value ones..."
Paul Vasilescu 
... He is atracted by the faces of Tudor Vladimirescu and Matei Basarab, Balcescu and Stefan the Great, he is passionate of making monuments honouring those who died in Marasti, Marasesti, of the peasants from Voinesti, Cricov, Ocnita, Razvadul de Sus and Razvadul de Jos, sacrificed for the ideal of national freedom. Thus arise a few monuments of the popular patriotism in the communal plazas from the above-mentioned villages. Monuments of a beautiful plastic posture, with a proud intensity of the feeling and with a cultivated modelling we don't find in the amount os statues resulting from the campaign taken then in the villages with the purpose of furnishing some rural establishments with commemorative bronzes.
Looking behind, we see with surprise that most of Vasile Blendea's works have a distinguished style
unity and we dare to add class. Critically evaluating his entire work, we also see that the artist had
enough reasons to ensure himself a safe place in our modern art history.
Tudor Octavian 
Equally a painter and a sculptor, Vasile Blendea is continuously fascinated by nature; a nature of his own; the little universe of Targoviste to which he belongs with every street, every house, every fair (Old street in Targoviste, Houses at the border of the citadel, the old stockyard from Targoviste), in which the painter seems to feel a plenitude day of the season (Early spring, Ialomita river in february). Of all these, the winter, with its strong chromatic contrast, with barely sketched depressive shapes of the trees revolve with consistency, sometimes as a chromatic study (The street) or a compositional study (The old stockyard), but mostly as a tragedy of the moment (Lay-over in snow), or of the characters (Shepherds from Bratesti), apparently unintentially caught. Elaborated for a long time through prior sketches or drawings (Horses study, The old house), Vasile Blendea's paintings will retake sometimes some of his sculptures themes, as it does a recent sculpture of small dimensions (Tired horses), seems to be inspired by the painter's prepossessions. 
Connected with personalities and events, Vasile Blendea's sculpture, risen from a history feeling, is populated by heroes become legends (Stefan the Great, Matei Basarab, Dan the Second) and anonymous heroes who wrote pages of our modern history (The battle of Marasesti or Grivita 1933). Forming a cycle, a cycle of the armed battle for the national unity, many of the sculptor's works remind us the heroism of those many and unknown, and the Battle of the dacians against the romans seems to preface the landslides from Marasti or Marasesti where, so many years ago, fought the master Vasile Blendea.
Mircea Iliescu ..."My paintings form a series of confessions I made during the seasons of the many years I passed. I loved the springs, the summers, the autumns, the winters, the houses and alleys of the old fair which was Targoviste, I loved the poor carters who carried the black oil, I loved their horses numbed with cold and tired by the burden, then I loved my arrival here, Bucharest with its streets and its people..."
Liviu Tudor Samoila  
We found ourselves, as we can see, in front of a complex artist, continuing a tradition which seemed abandoned so many time ago; that of the renaissancist master.
Drawer, painter, sculptor, restorer and author of many valueble works of monumental art, Vasile
Blendea remains without a doubt one of the interesting personalities of the romanian plastic art
from the 20th century.
Gheorghe Achitei, 1977  
His first exhibition in Targoviste? In painting, a kind of atavistic appetency to the world above the world, fatefully swarming by the gates of the evil memory knights of the oil royalties: a chopper carrying a buck in his back walking barefooted through snow banks, carters numbed with cold caming from Bratesti to sell their brushwoods: a beggar from Sotanga, An orphan, Gas workers from Persinari, A fiddler, Women at mill, Skinny horses, that is the almost obsessive themes of Blendea, that is a sad desolation of the characters, with humble homes under the leaden sky of the poet Bacovia, described with a great austerity of tones, like a Paganini of the romanian plastics singing on a single string, rarely using the base colours seduction, but with the same indubitable brushwork on the always classical drawing.
Ion Vasiliu 
... On the carved faces of our rulers and our heroes of whatever rank they had, from prince to soldier, he put to everyone of them like nobody else did the features of the essence which characterizes his achievements or his life and I don't know any artist who passed so uncompromisingly from the figures of the enlightened history of our country, from the confident and tenacious movement of the fighter, to the sadness herited from the ruins of his town, from the street people, because no one has ever known how to describe more clearly the fight and how to express the sadness on the individual defeated by faith or by superior forces, masked or not in a way or another in order to get to smooth water and survive...
Gavrila Simion Here we are in front of a complex artist which continues a tradition which seemed long time ago abandoned: that of the renaissancist master.
Drawer, painter, sculptor, restorer and author of many important works of monumental art and, not lastly
teacher, Vasile Blendea remains without a doubt one of the interesting personalities of the romanian plastic art
from our century.
Rodica Matei ... The incision of the lines made in pencil or ink pen, the pictorial values obtained through aquarelle or pastel, of a distinct suggestive force, bear record of a true calligraphic virtuosity in controling the tools specific to the graphics. A virtuosity serving an active interpretation in which we can distinguish the option of meanings. And, indeed, beyond the wery material images which this artist brought attentively every time, many painting works presented now have included in their image an entire spirituality fund. 
The sculpture completes the image of this personality. From portraits - expression of the preoccupation with fixing in clear, accessible ways the image of history or contemporaneity history - to the coordinates of exquisite sensibility of the human body styling in strictly built works or limbering shapes of ornamental value to compositions capables of illustrating a dynamic control of the sculpture technics, the works represent an eloquent ensemble of his possibilities and his preoccupations. The more you explore the work Vasile Blendeas left us, the more you discover its details, the more you enter ino a reality world, which carries you at the same time in the infinite of moral ideas and principles full of brighting lights, of love feelings, pain and respect, wrote Simion Gavrila, the manager of the Tulcea's museums in the preface of the present catalogue.
Marina Preutu |
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