Documentar OPERA LUI ALECSANDRU* C. BOGDAN
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Between Worlds Contents
BETWEEN WORLDS CONTENTS 14 Acknowledgments 16 Introduction Timothy 0. Benson and Eva Forgacs SECTION 1: STYLE AS THE CRUCIBLE OF PAST AND FUTURE Chapter 1: National Traditions Germany Carl Vinnen. "Quousque Tandem," from A Protest of German Artists [1911I Wilhelm Worringer, "The Historical Development of Modern Art," from The Struggle for Art (1911) Czech-Speaking Lands Milos Jiranek, "The Czechness of our Art," Radikatni iisty (1900I Bohumil Kubista, "Josef Manes Exhibition at the Topic Salon," Prehled ii9ii) Poland Juliusz Kaden-Bandrowski, "Wyspiariski as a Painter-Poet (Personal Impressions]," Przeglqd Poranny I1907] Stanistaw Witkiewicz, Excerpts from Jon Matejko (1908) Jacek Malczewski, "On the Artist's Calling and the Tasks of Art" I1912I Wtodzirnierz Zu-tawski, "Wyspiariski's Stained Glass Windows at the Wawel Cathedral," Maski (1918] Hungary Lajos Fulep, Excerpt from Hungarian Art I1916I Yugoslavia Exhibition Committee of University Youth (Belgrade], Invitation Letter (1904) Chapter 2: New Alternatives Prague Emil Filla, "Honore Daumier: A Few Notes on His Work," Volne smery (1910] Pavel Janak, "The Prism and the Pyramid" Umeiecky mesicnik (1911] Otto Gutfreund, "Surface and Space," Umeiecky mesicnik (1912) Emil Filla, "On the Virtue of Neo-Primitivism," Volne smery (1912) Vaclav Vilem Stech, Introduction to the second Skupina exhibition catalogue (1912) Bohumil Kubista, "The Intellectual Basis of Modern Time," Ceska kutturo I1912-13] Josef Capek, Fragments of correspondence I1913] Josef Capek, "The Beauty of Modern Visual Form," Printed [1913-14I Vlastislav Hofman, "The Spirit of Change in Visual Art," Almanoch no rok [1914) Budapest Gyb'rgy Lukacs, "Forms and the Soul," Excerpt from Richard Beer-Hoffmann 11910) Karoly Kernstok, "Investigative Art," Nyugat (1910) Gyorgy Lukacs, "The Ways Have Parted," Nyugat [1910) Karoly Kernstok, The Role of the Artist in Society," Huszadik szazad (1912) Bucharest Ion Minulescu, Fragment from "Light the Torches," Revisto celorlaiti (1908) N. -
Din Carnetul Unui Medic De Plasă, Însemnări, II
ANUL XIII Nr.8 SERIE NOUĂ J7\fJj\ AUGUST 1946 FUNDAŢIILOR REGALE Dr. Gh. Ulieru Din Carnetul unui medic de plasă, însemnări, II VICTOR EFTIMIU- Poem (738) ŞTEFAN POPESCU .Dă pinteni lu' Urechiatu' (739) VICTOR PAPILIAN Francise Rainer şi epicul tăcerii (753) K. H. ZAMBACCIAN Alexandru Bogdan-Piteşti (760) «- PUNCTE DE VEDERE AL. ROSETTI, însemnările Doctorului Ulieru, 771 ; PERPES- SICIUS, Jurnal de lector (Nostalgii valutare), 773 ; ŞERB AN CIOCULESCU, Balzac şi Moldova 777 COMENTARII CRITICE Pompiliu Constanlinescu, Poesia personagiilor lui Caragiale, 781 ; Perpessicius, Menţiuni critice (C. Dobrogeanu-Gherea, critic literar), 785 ; Petru Comarnescu, Omul în explicaţia d-lui M. Ralea, 796. CRONICI Anton Cebov, omul şi opera In lumina actualităţii, de Sorana Gurian, 812; Pierre Bayle, de M. Petroveanu, 823; Cezar Boliac, un poet modern de acunr'b sută de ani,' de Ion Caraion, 828 ; André Malraux, combatant, de Camil Baltazar, 834 ; Boris Aronson şi teatrul nou, de -Iordan Chimet, 839 LVMEA_ DE AZI Date cruciale pentru noua concepţie a lumii fizice, de Călin Po- povici, 845 ; «Femei din New-York »—la Teatrul^ « Savoy », de Alice Voinescu, 861. PRESA MONDIALĂ Română — Sovietică — Americană NOTE Exemplul poetului luptător, de Eugen Jebeleanu ; 30 ani delà moartea lui Lucbian, Moartea contelui Keyserling, încurajarea literaturii dramatice originale, de Petru Comarnescu; Thomas Hunt Morgan, de Corin Grosu ; Despre polemică, Eleganţă şi politeţe, de Oscar Lemnarii ; Pretext la André Spire, de Ion Caraion ; Sistemele filosofice şi analogiile intui tive, de Florian Nicolau. CRONOLOGIE 6 Mai — 5 Iunie 9SSDA7IA lEfiALi PEBT8B HTSSATS84 Şî A«WA REVISTA FUNDAŢIILOR REGALE LITERATURĂ — ARTĂ — CULTURĂ — CRITICĂ GENERALĂ APARE LUNAR Directori AL. -
OER STURM Oo PQ Os <Rh IRH ZEMIT A
De Styl 2x2 <rH IRH & Weimar Biflxelles OER STURM L'ESPRIT Berlin £ Wlan NOUVEAU 3 o CO a LA o .6 VIE o s £ D E Paris PQ S IU LETTRES DIE AKTION ET DES ARTS Paris ZEMIT Berlin Berlin InternaclonAIlt akllvlsta mQv^ssetl foly61rat • Sserkeutl: KattAk Uijof m Fe- leldssievkesxtO: Josef Kalmer • Sxerkesxtds^g £• klad6hlvafal: Wlen, XIIL Bei* Amallenstrasse 26. L 11 • Megjelen^s dAtuma 1922 oktdber 19 m EUfflrctM Ar: EOT £VRE: 3S.OOO osztr&k kor^ 70 ssokol, lOO dlnAr, 200 lei, SOO mArka m EQTE8 SZXM XltA: 3000 ositrAk korona, 7 siokol, lO dlnAr, 20 lei, SO mArka MA •b VIE 6vfolyam, 1. tx6m • A lapban megJelenO clkkek6rt a weriO felel. Drackerei .Elbemflfcl", Wien, IX., Berggtue 31. a sourcebook of central european avant-gardes, 1910-1930 CONTENTS 14 Acknowledgments 16 | Introduction Timothy 0. Benson and Eva Forgacs 49 Germany 50 Carl Vinnen, "Quousque Tandem," from A Protest of German Artists (1911) 52 Wilhelm Worringer, "The Historical Development of Modern Art," from The Struggle for Art (1911) 55 Czech-Speaking Lands 56 Milos Jiranek, "The Czechness of our Art," Radikalni tisty (1900) 57 Bohumil Kubista, "Josef Manes Exhibition at the Topic Salon," Prehled [1911) 59 Poland 60 ; Juliusz Kaden-Bandrowski, "Wyspianski as a Painter-Poet (Personal Impressions)," Przeglad Poranny (1907) 61 Stanistaw Witkiewicz, Excerpts from Jan Matejko (1908) 64 Jacek Malczewski, "On the Artist's Calling and the Tasks of Art" (1912) 66 Wiodzimierz Zutawski, "Wyspianski's Stained Glass Windows at the Wawel Cathedral," Maski (1918) 70 Hungary 71 ! Lajos Fulep, -
Romanian Presidency Programme V2
Teatrul Naţional din Iaşi Biblioteca Judeţeană „V.A. Urechia” Galaţi Public Domain Marked ROMANIAN PRESIDENCY OF THE COUNCIL OF THE EUROPEAN UNION “Exposing Online the European Cultural Heritage: the impact of Cultural Heritage on the Digital Transformation of the Society” 17-18 April 2019 | Iasi, Romania europeana.eu @EuropeanaEU ROMANIAN PRESIDENCY OF THE COUNCIL OF THE EUROPEAN UNION Context This conference, organized in the framework of the Romanian Presidency of the Council of the European Union and under the auspicies of Europeana Initiative, aims to highlight the impact of exposing cultural heritage online and to provide a platform to discuss the importance of national aggregation infrastructures to the digital transformation of cultural heritage sector using Romania as a case study. The meeting is aimed at cultural policy makers from EU member states (representatives from the Expert Group on Digital Cultural Heritage and Europeana), Romanian cultural heritage institutions involved in the implementation of E-cultura: Romanian Digital Library project and policy makers. The meeting will be joined by representatives of the European Commission and Romanian authorities. Central hypothesis Europe currently has a leading position in the world in digital cultural heritage. This leading position has been built through large investments of the EU (in Europeana and related projects) and of the Member States (in digitization and national infrastructures). Securing this leading position in the future, in particular with the advent of new technologies -
Olimpiada Digitala 2021 (Romania)
Olimpiada Digitala 2021 (Romania) Competition statistics: 581 competitors, 410 schools Exciting prizes for this CONTEST! KIT Robot inteligent programabil KIT proiecte Arduino Carte programare Scratch Locul 1 Locul 2 Locul 3 Open, 7 and 8 y.o. 1. Chirilov Albert Andrei, Scoala Nr 85, Bucuresti, Romania, 3.35, Congratulations!, Locul 1 , Project 2. Alecu Roberto Alessandro, Tecfun Jr, Botosani, Romania, 2.96, Congratulations!, Locul 2 , Project 3. Ganea Andrei Sebastian, Liceul Teoretic Avram Iancu Cluj Napoca, Cluj Napoca, Romania, 2.93, Congratulations!, Locul 3 , Project 4. Alice Caruntu, Scoala Gimnaziala Ioan Murariu Cristinesti, Botosani, Romania, 2.92, Thank you for participating 5. Mara Malusel, Scoala nr. 23 Constantin Brancoveanu, Constanta, Romania, 2.88, Congratulations!, Scenariu exceptional ! 6. Crisan Tudor Andrei, Scoala Gimnaziala Viisoara, Campia Turzii, Romania, 2.80, Thank you for participating 7. Matei Bica, Codeland School, Curtea De Arges, Romania, 2.73, Thank you for participating 8. Decu Dumitru Damian, Scoala Gimnaziala Nr 1 Berceni, Vidra, Romania, 2.68, Thank you for participating 9. Eliza Iftime, Techfun Jr, Botosani, Romania, 2.55, Thank you for participating 10. Voica Dimitrie, Techfun Jr, Botosani, Romania, 2.32, Thank you for participating 11. Poenaru Mihai Cristian, Codeland School, Pitesti, Romania, 1.00, Thank you for participating 12. Neaga Luca, Codeland School, Pitesti, Romania, 1.00, Thank you for participating 13. Isabela Maria Paceagiu, Isabela Maria Paceagiu, Constanta, Romania, 1.00, Thank you for participating 14. Crisan Tudor Andrei, Scoala Gimnaziala Viisoara, Campia Turzii, Romania, 1.00, Thank you for participating 15. Marin Vlad Mihai, Scoala Gimnaziala Mihai Viteazul, Craiova, Romania, 1.00, Thank you for participating 16. -
Nu Sunt Ce Par a Fi
Ion MINULESCU NU SUNT CE PAR A FI Colecþie iniþiatã ºi coordonatã de Anatol Vidraºcu ºi Dan Vidraºcu Concepþia graficã a colecþiei ºi coperta: Vladimir Zmeev Pe copertã: Portret de Lucia Dem. Bãlãcescu (detaliu) REFERINÞE ISTORICO-LITERARE: Mihail Dragomirescu, Eugen Lovinescu, Perpessicius, Pompiliu Constantinescu, George Cãlinescu, ªerban Cioculescu, Tudor Vianu, Nicolae Manolescu, Mircea Tomuº, Gabriela Omãt Grupul Editorial „Litera“ str. B. P. Hasdeu, mun. Chiºinãu, MD-2005, Republica Moldova tel./fax +(3732) 292932, 294110, fax 294061; e-mail: [email protected] Difuzare: S.C. David D.V.Comprod SRL O.P. 33; C.P. 63, sector 1, Bucureºti, România tel./fax +(01) 3206009 Librãria „Scripta“ str. ªtefan cel Mare 83, mun. Chiºinãu, MD-2012, Republica Moldova, tel./fax: +(3732) 221987 Prezenta ediþie a apãrut în anul 2001 în versiune tipãritã ºi electronicã la Grupul Editorial „Litera“. Toate drepturile rezervate. Editori: Anatol ºi Dan Vidraºcu Lectori: Tudor Palladi, Petru Ghencea Tehnoredactare: Irina Platon Tiparul executat la Combinatul Poligrafic din Chiºinãu Comanda nr. 11333 CZU 821.135.1-3 M 75 Descrierea CIP a Camerei Naþionale a Cãrþii Minulescu, Ion Nu sunt ce par a fi/ Ion Minulescu; col. iniþ. ºi coord./ Anatol ºi Dan Vidraºcu; conc. gr. col. ºi cop./ Vladimir Zmeev; µ Ch.: Litera, 2001 (Com- binatul Poligrafic). µ 304 [p]. µ (Bibl. ºcolarului, serie nouã, nr. 206) ISBN 973-8358-21-9 821.135.1-3 ISBN 973-8358-21-9 © LITERA, 2001 CUPRINS Tabel cronologic . .7 ROMAN|E PENTRU MAI TÂRZIU (1908) Roman\a noului-venit . 12 La poarta celor care dorm . 14 Roman\a noastr[ . 16 Spre Insula enigm[ . -
Statistics Regarding the Occurrence of the Epithet in Romanian Symbolist Poetry
Available online at www.sciencedirect.com Procedia - Social and Behavioral Sciences 46 ( 2012 ) 4524 – 4528 WCES 2012 Statistics regarding the occurrence of the epithet in Romanian symbolist poetry Carmen Nicolescu a * aPitesti University, 01 Targu din vale, Pitesti 110040 , Romania Abstract Searching the frequency of the epithet, one realizes the fact that the Romanian symbolist poets were enough mature in writing and had a balanced literary vision, shaping consciously an individual stylistic universe, avoiding exaggerations. The Romanian Symbolism is seen by most literary critics as a literary attitude which expresses special sensations, even weird, full of a morbid atmosphere and a melancholic-depressing musicality, obsessive tonality, allusive representations, unclear images, all these being rendered mostly by means of the epithet. The symbolist writings of the Romanian poets try, by their diversity, to rearrange the means of expression and to overcome the eminescian/late romanticism complex, which generated a phase of imitation hardly known before and contributed to the growth and the encouragement of the traditionalist movements. © 201212 Published Published by by Elsevier Elsevier Ltd. Ltd. Selection and/or peer review under responsibility of Prof. Dr. Hüseyin Uzunboylu Keywords: statistics, symbolism, epithet, literature; 1. Introduction The modern aspect of the Romanian symbolism will open the way for the great writings of high artistic expression of some poets who have already become standpoints of permanent values in the Romanian literature: T. Arghezi, L. Blaga, I. Barbu. Next to them, the literary critics and historians put G. Bacovia and I. Minulescu, writers who begin with the Symbolism, but go beyond it through the original approach of its aesthetics. -
Nr. Crt. Județul Numele Și Prenumele Elevului Unitatea De Învățământ
COLEGIUL NAȚIONAL IAȘI REZULTATE - OLIMPIADA NAȚIONALĂ DE LlMBA ȘI LITERATURA ROMÂNĂ, PENTRU ELEVII DE GIMNAZIU, ETAPA NAȚIONALĂ 2019 Nr. Nivel Rezultat proba Rezultat proba Județul Numele și prenumele elevului Unitatea de învățământ de proveniență Clasa Secțiunea Rezultat final crt. S B orală scrisă Bucureşti - 1 Balla R.Ș. Philippa Liceul Pedagogic "Anastasia Popescu" 6 B 1 81 73.5 75.38 Sector 2 2 Constanţa Barbu C. Alexandra Daria Școala Gimnazială Nr. 29 „Mihai Viteazul" 6 B 1 75 93.5 88.88 3 Brăila Boca M. Delia-Andreea Colegiul Național „Gh. M. Murgoci” Brăila 6 B 1 80 76.5 77.38 4 Braşov Bularca D. Daria Colegiul Național „Dr. Ioan Meșotă”, Brașov 6 B 1 73 80 78.25 5 Ialomiţa Celea A. Andreea Alina Școala Gimnazială „Aurel Vlaicu” Fetești 5 B 1 80.5 85.5 84.25 6 Mehedinți Chiciudean I. Elena Școala Gimnazială Nr 6 5 B 1 80.5 89 86.88 7 Călărași Chihaia M. Anamaria Școala Gimnazială „Nicolae Titulescu” Călărași 6 B 1 72 76 75 8 Argeş Constantin A. Alessia Maria Școala Gimnazială "Mircea Cel Bătrân" Pitești 6 B 1 91 77.5 80.88 9 Bistrița Năsăud Crișan E.R. Luca Alexandru Colegiul Național "Andrei Mureşanu", Bistrița 5 1 71 70.5 70.63 B 10 Timiş Croitoru P. Simona Maria Colegiul Național Pedagogic "Carmen Sylva" Timisoara 5 B 1 73 62.5 65.13 11 Olt Diaconu T. Ștefania Colegiul Național „Ion Minulescu” Slatina 6 B 1 75 88.5 85.13 12 Vaslui Doboș L.I. Ilinca Anastasia Liceul Teoretic „Mihail Kogălniceanu” Vaslui 5 B 1 81 86 84.75 13 Iași Dondaș C. -
A Sample of Cultural Interaction in the Age of Modernism:The Representation of the Dobruja Turk in Romanian Painting
ANKARAD / AJARS ANKARA ANADOLU VE RUMELİ ARAŞTIRMALARI DERGİSİ ANKARA’ S JOURNAL OF ANATOLIA AND RUMELIA STUDIES ANKARAD, 2020; 1(2): 481-501 [email protected] e-ISSN: 2717-9052 DOI: A SAMPLE OF CULTURAL INTERACTION IN THE AGE OF MODERNISM:THE REPRESENTATION OF THE DOBRUJA TURK IN ROMANIAN PAINTING Atanas KARACOBAN* - Dalila OZBAY** Abstract: The present study attempts to bring to light an artistic experience almost unknown to the larger public, which is the repre sentation of the Turkish people of Dobruja in the Romanian painting of the first half of the twentieth century, which is the period of modernism in art promoting freedom of artistic expression, innova tion and experimentation. Among the origins of modernism, of pri mary importance stand the principles of romanticism, aestheticism, symbolism, and particularly in the case of painting, Impressionism, and the entire late nineteenth-century artistic reaction against real ism and tradition. Along with these predecessors, in the case of Ro manian artists, the rediscovery of Dobruca was another factor providing new concerns and perspectives in painting. The authors of this study are therefore also conscious of the influence of the Turkish community from Dobruja on the development of Romanian painting in the new context of territorial changes after the second Balkan War, the emphasis on which being another aim of the pre sent study. 481 Key words: Art, Painting, Modernism, Impressionism, Dobruja. MODERNİZM ÇAĞINDA KÜLTÜREL ETKİLEŞİMİN BİR ÖRNEĞİ: ROMANYA RESMİNDE DOBRUCA TÜRK’ÜNÜN BİR TASVİRİ Öz: Bu çalışma, halkın çoğunluğu tarafından bilinmeyen bir sanatsal deneyime; sanatsal dışavurum, yenilik ve deneyselliği destekleyen, sanatta bir modernleşme çağı olan yirminci yüzyılın ilk yarısındaki Romen resmindeki Dobrucalı Türklerin resmedilmesine * Öğr. -
The Identity of the Romanian Pre-Avant-Garde
Études et articles THE IDENTITY OF THE ROMANIAN PRE-AVANT-GARDE Dr. Paul DUGNEANU “Ovidius” University of Constanţa [email protected] Rezumat: În evoluţia şi dialectica fenomenului literar de la sfârşitul secolului al XIX-lea şi începutul secolului al XX-lea, se observă o perioadă de declin artistic, de confirmare a curentelor şi a mişcărilor literare, perioadă care neagă tradiţia şi care, prin intermediul unor elemente importante, vine să anunţe avangarda istorică. Ne referim aici la o serie de curente literare şi artistice ce conţin un set de trăsături similare, cu un fetiş pentru noutatea care şochează şi un suport oferit valorilor generale şi în mod normal acceptate, fără să conţină forţa de penetrare, agresivitate, coerenţă sau împrăştiere a avangardei actuale: fauvism, cubism, futurism, imagism, vorticism şi altele. Cuvinte cheie: Pre-avangardă, anti-tradiţionalism, manifest poetic, post-simbolism, program- articol, arhitext Abstract: In the evolution and dialectics of the literary phenomenon at the end of the XIX century and the beginning of the XX century we can note a period of artistic fizzle, of confirming literary currents and movements, that vehemently deny the tradition and which, through some important elements, shall announce the historical avant-garde. We are referring to a series of artistic and literary currents, with a set of similar features, having a fetish for the shocking novelty and bracketing of the established and generally accepted values, without having the force of penetration, aggressiveness, coherence and spreading of the actual avant-garde: the fauvism, cubism, futurism, imagism, vorticism and others. Keywords: Pre-avantgarde, anti-traditionalism, poetic manifest, post-symbolist, programme- article, archi-text. -
Unification of Art Theories (Uat) - a Long Manifesto
UNIFICATION OF ART THEORIES (UAT) - A LONG MANIFESTO - by FLORENTIN SMARANDACHE ABSTRACT. “Outer-Art” is a movement set up as a protest against, or to ridicule, the random modern art which states that everything is… art! It was initiated by Florentin Smarandache, in 1990s, who ironically called for an upside-down artwork: to do art in a way it is not supposed to be done, i.e. to make art as ugly, as silly, as wrong as possible, and generally as impossible as possible! He published three such (outer-)albums, the second one called “oUTER-aRT, the Worst Possible Art in the World!” (2002). FLORENTIN SMARANDACHE Excerpts from his (outer-)art theory: <The way of how not to write, which is an emblem of paradoxism, was later on extended to the way of how not to paint, how not to design, how to not sculpture, until the way of how not to act, or how not to sing, or how not to perform on the stage – thus: all reversed. Only negative adjectives are cumulated in the outer- art: utterly awful and uninteresting art; disgusting, execrable, failure art; garbage paintings: from crumpled, dirty, smeared, torn, ragged paper; using anti-colors and a-colors; naturalist paintings: from wick, spit, urine, feces, any waste matter; misjudged art; self-discredited, ignored, lousy, stinky, hooted, chaotic, vain, lazy, inadequate art (I had once misspelled 'rat' instead of 'art'); obscure, unremarkable, syncopal art; para-art; deriding art expressing inanity and emptiness; strange, stupid, nerd art, in-deterministic, incoherent, dull, uneven art... as made by any monkey!… the worse the better!> 2 A MANIFESTO AND ANTI-MANIFESTO FOR OUTER-ART I was curious to learn new ideas/ schools /styles/ techniques/ movements in arts and letters. -
Licitația Maeștri Ai Portretului Marți, 6 Februarie 2018, 19.30, Artmark - Palatul Cesianu - Racoviță, București
16. Mișu Teișanu, În grădină Licitația Maeștri ai Portretului marți, 6 februarie 2018, 19.30, Artmark - Palatul Cesianu - Racoviță, București 94 95 1 | Iosif Iser 2 | Hans Eder 1881, București - 1958, Bucureşti 1883, Braşov - 1955, Braşov Tătăroaice | 1939 Tătăroaică | 1947 guaşă vernisată pe hârtie, 42 × 34 cm, semnat şi datat ulei pe carton, 70 × 50 cm, semnat și datat dreapta sus, stânga sus, cu negru, „ISER, (19)39” cu negru, „HE, (19)47” € 3.000 - 5.000 € 3.000 - 5.000 96 97 3 | Carol Hübner 1902, Sighişoara - 1981, Brașov Pisica albă | 1928 ulei pe carton, 48 × 35 cm, semnat și datat dreapta jos, cu galben, în monogramă, „KH, 1928” € 700 - 1.200 4 | Nicolae Popa-Iași 1901, Ipatele, Iaşi - 1962, Iaşi Cochetărie | 1932 5 | Carol Hübner ulei pe pânză lipită pe placaj, 60 × 47 cm, semnat, datat 1902, Sighişoara - 1981, Brașov şi localizat stânga jos, cu brun, „N. Popa, Paris, (1)932” Culegătoarele de vreascuri | 1931 € 800 - 1.500 ulei pe pânză, 58 × 48,5 cm, semnat și datat dreapta jos, cu brun, Khübner, (19)31 Opera a fost pictată în cursul anului 1932, în atelierul lui € 900 - 1.500 André Lhote, pe când Nicolae Popa se afla la Paris, drept câștigător al bursei pentru studii în străinătate. Opera a participat la Salonul artiștilor moldoveni, Academia Opera a participat la expoziția retrospectivă Karl Hübner Pe verso: Portret de doamnă. de Arte Frumoase Iași, 27 decembrie 1932 - 15 ianua- (1902-1981), Muzeul de Artă Brașov, 2012 și este repro- rie 1933. dusă în catalogul expoziției la pag. 52. 98 99 Sculptor școlit în perioada interbelică, între 1930 și 1934, în cadrul Academiei de Arte Frumoase din București, Mereanu avea să debuteze în deceniul patru al sec.