The 19th c painter CD Rosenthal has been an important figure of the 1848 Revolution in Wallachia, which has put the basis of the modern national identity of what a few decades later will become Romania. He was a Hungarian Jew, which made his contribution even more momentous in the pivotal moments that are at the origins of this modern nation state in southeast Europe. This video is a review of the commemorative exhibition of his works taking place this season at the National Museum of Art in Bucharest (MNAR). He was a recorder of those events and protagonists, in an era before the mass media, painting his friends, the revolutionaries, who were young local aristocrats, and other people who, like him of cosmopolitan background, came to identify themselves with the political movement that aimed to set up this new national state. One such personality was the Scottish woman, Mary Grant, the model for his most famous painting, ‘Revolutionary Romania’. The exhibition is an excellent breviary of a pivotal moment in the history of this country, which conditioned its cultural and political evolution ever after, including the outlook and directions of its architecture.
Tag: Romania
Building inauguration years rendered architecturally
The photo-collage above is composed by building inauguration year panels rendered architecturally, encountered by the author of this blog on edifices dating from a multitude of historical epochs in Bucharest and other locations in Romania. I used the illustrations as cover photographs for the Historic Houses of Romania – Case de Epoca’s Facebook page. I usually present to the readers a cover photo per week, and the ones here are those scheduled for the first ten weeks of 2014. To find out details about the significance of those years and the buildings hosting them, you can click the links listed below. The links are arranged in the same scheme as the architecturally rendered years mentioned in the collage.
Historic foot mud scraper
I like the historic foot mud scrapers and the contribution they bring to the overall aesthetics of a period building, although they represent a very practical device affixed prosaically on the side of a doorway. Here is an interesting example that I photographed on the steps of the Orthodox Metropolitan Cathedral in Sibiu, old Saxon Transylvania. It dates from the beginning of the 20th century and its sphinxes must have seen a lot of feet in the meanwhile. Looking at the wear of the blade, I reckon that perhaps over half a million people used it in the last century and a decade.
Happy Birthday to HM King Michael
I would like to wish HM King Michael of Romania a very happy 92nd birthday!
Below is an article published in Majesty Magazine, written by Diana Mandache and the undersigned, entitled “The History Maker”, with the occasion of His Majesty’s 90th birthday, evocating his exemplary, heroic life.
Valentin Mandache, expert in historic houses
King Michael, a great personality who has decisively influenced and determined the history of his country, survived a tumultuous period. His actions saved Romania from catastrophe during the Second World War, and his uncompromising moral stand throughout his life, however difficult the personal circumstances were, constitute a supreme example for his countrymen and the rest of the world.
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I endeavour through this series of periodic articles to inspire appreciation of the historic houses of Romania, a virtually undiscovered, but fascinating chapter of European architectural history and heritage.
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If you plan acquiring or selling a historic property in Romania or start a renovation project, I would be delighted to advice you in sourcing and transacting the property, specialist research, etc. To discuss your particular plan please see my contact details in the Contact page of this weblog.
Sketches of representative Romanian historic built landscape sights
The built environment of Romania has an obvious personality, and being present permanently around me, it became in the last few years since I am based in Bucharest, an integral part of my intellectual universe. Some more than two decades ago I used to attended earth science courses, and one of the main tenets thought there was the keen observation of the ground and other landscape details to work out the local geological history. I was thought back then to make as often as I can field sketches in a notebook, which were always preferable to photographs. That habit is still with me in my activity as an architectural historian, but recently in a high-tech form, having acquired and iPad and tried my hand on glass, which in my opinion is in many ways similar with how our c19th and earlier centuries counterparts used to draw and write on slate. My sketches encompass some of the main types of Romanian architectural landscape, which I hope you, dear readers, would find it interesting!
Late Neo-Romanian style doorway assembly
I divide the evolution of the Neo-Romanian architectural style in three main phases. The early one lasted from its initiation in 1886 by the architect Ion Mincu with his edifice in the national style, Lahovary house, until 1906 when the Royal Jubilee exhibition took place, showing to the public its grand pavilions, many designed in an elevated unitary manner that “canonised” the style, which marked the beginning of its mature phase. It reached an apogee after the country’s victory in the Great War and subsequently in the 1920s decade, when was adopted all over the territory of interbellum Romania. The late 1920s, and the 1930s decade saw the increase popularity and in the end prevalence of the international styles Art Deco and Modernism, which induced a crisis of expression for the Neo-Romanian, thus marking its late phase. The national style managed to strive through an imaginative synthesis with the Art Deco and also Mediterranean inspired forms, resulting in extremely interesting designs. The evolution of the style practically ended with the instauration of communism in the winter of 1947, under the impact of the ideologically driven architectural priorities of the new political regime. It continued to have echoes for another two decades especially in vernacular forms and in motifs used on post-war edifices.
The street gate and doorway assembly presented above belongs in its design outline and period when it was built to the late phase of development of the Neo-Romanian style. The wrought iron gate is inspired from Brancovan style church or altar doors, but expressed in coordinates close to Art Deco. The two gate posts are also derived from church or medieval citadel towers, conforming with the national-romantic message of the style. The door itself shows a series of square panels pointed each by a central disc, which can be understood as the outline of an ethnographic solar disc or an interpretation of a Greek cross. The wall surround of the door is basically an adaptation of a church door opening in reduced to essence coordinates of the Art Deco style. The doorway assembly dates from the beginning of the 1930s, and as the time progressed into that decade, the expression of the Neo-Romanian forms in an Art Deco “ambiance” became even more prevalent and captivating as a form of architectural language.
Art Deco sunbursts
I am a great fan of the cheerful Art Deco panels that depict sunbursts, rainbows or southern seas themes. In that spirit I have put together a real sunburst photographed last summer in Grivita – Domenii area of the city, a quarter that is still preserving its inter-war charm when it was built up in large part in the Art Deco style, then much in vogue in Bucharest, and the emblem of an insurance company, ornament that dates from the Art Deco era, located in the town centre. Looking at the natural sunburst is easier to understand the message, optimism and confidence exuded by the Art Deco panels of Bucharest and the culture of that beautiful time in the history of architecture.
Ottoman period sheep bell from Casota, Buzau county
I have been shown in one of my recent visits to Moray Letham, the owner and restorer of Casota conac in Buzau county, about one hour drive from Bucharest, this interesting sheep bell, which is marked in its upper part by a moon crescent embracing a star, the symbol of the Ottoman state that once dominated these parts of south east Europe. Moray acquired this interesting piece of history from a local peasant. I photographed it against two of Moray’s pieces of c19th French antiques, an artificial stone lion and the pink marble counter top of a cupboard, which are intended to furnish the restored French neo-Renaissance style mansion in the villge.
It is hard to put a date on it, when the bell was made, as the Ottoman Empire is not effectively a lord of this region since the sixth decade of c19th. Following that reasoning, it is possible that the bell should have been produced locally not long before or roundabout that time. My opinion is that the bell is of a more recent date, perhaps an import from neighbouring Bulgaria, which remained under the Ottomans until the end of the 1870s and gained independence in 1908. The Romanian shepherds from the area went sometimes over to Bulgaria to trade their products. The same is true for Bulgarian traders and shepherds who frequently were heading over the Danube to Wallachia and further afield. Thus this bell could have been brought by someone in that process. There is also another possibility, if we take into account that the government settled in southern Romania in the last decades of c19th, until the Great World War, a large number of Vlachs, speakers of Romanian related languages from the Balkans. This bell could well have been brought over by one of those Vlach families whose quintessential traditional activity is shepherding, when they came from their former places deep in the Ottoman Balkans.
Whichever is the origin of this sheep bell, it represents a tangible testimony of the quite recent history of these places, of the cultural and economic links between the peoples of the Balkans, which are now so much obscured by national borders, official national narratives and nationalist views of history, things which in general are far removed from the reality on the ground.
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I endeavour through this series of periodic articles to inspire appreciation of the historic houses of Romania, a virtually undiscovered, but fascinating chapter of European architectural history and heritage.
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If you plan acquiring or selling a historic property in Romania or start a renovation project, I would be delighted to advice you in sourcing and transacting the property, specialist research, etc. To discuss your particular plan please see my contact details in the
Atlantes and caryatides of Bucharest
I tried to profit yesterday of the lull in between snowfalls and blizzards that affect Bucharest at the end of this January, and shoot a few photographs on the theme of atlantes and caryatides that embellish some of the historic buildings of Romania’s capital. If on the one hand the term caryatid (pl.-s/es) is well known, as the female figure appearing to support on her head the architectural structure above, the name coming form that of the sculpted goddesses that sustain the lintel of the Erechtheion temple on Athens’ Acropolis, atlantes, on the other hand, is somehow confusing for being the plural of the term atlas, the classical Greek god that support the world on his head and shoulders, a male counterpart of a caryatid. Bucharest does not have too many such ornaments, which are the province of the high historicist styles, encountered also sometimes on more modern buildings, but for a keen eye they reveal themselves on house corners, side streets or at the top of façades of some of the city’s historic edifices. Bellow is a selection of some of the most impressive atlantes and caryatides that adorn Romania’s capital, put in place in a period spanning from the mid-c19th to the 1930s, in styles ranging from neo-Renaissance, neo-rococo, Beaux Arts to classicized Art Deco.
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I endeavour through this series of periodic articles to inspire appreciation of the historic houses of Romania, a virtually undiscovered, but fascinating chapter of European architectural history and heritage.
***********************************************
If you plan acquiring or selling a historic property in Romania or start a renovation project, I would be delighted to advice you in sourcing and transacting the property, specialist research, etc. To discuss your particular plan please see my contact details in the
The decorative stone of a Bucharest tube station
Bucharest’s public and private edifices erected in the last two decades, since the fall of communism, are, apart from the general forgettable design, built in high proportion using mass produced imported materials. Most of that is cheap, low quality, characterless and as regards the resulted architecture, can in my opinion, easily be categorised at kitsch. That situation also reflects the tastes and values of the actual generations engaged in building or renovating edifices of this town and country. They are in such stark contrast with the times of in the inter-war and subsequent communist periods when the architectural materials were in greatest proportion sourced within the country. That produced interesting and attractive results, with the ornamental and construction stone sourced in the Carpathian Mountains or in rocky hills of the province of Dobrogea, on the Black Sea coast, which are from that point of view a wonderful geological kaleidoscope, a bottomless source of high quality marble, limestone of different sorts, travertine, granite of various colours and grains, basalts, sandstones, etc. I have in the image above a sample of that fabulous panoply of ornamental stone used in one of the grand communist era projects, Bucharest’s metro transport system. It shows the pavement of the Politehinca station, composed of red limestone peppered by Jurassic age marine fossils, which was sourced probably in the Apuseni (Western) Carpathians, the rock being formed in a geological age when those parts were a continental shelf covered by the warm seas on the Equator. My Dr. Martens shoes stand on a band of nicely granulated pinkish granite, sourced in my opinion in northern Dobrogea (it may also be from the Apuseni Mountains). The composition is evocative of the geographical and geological identity of this country, a fact which is no longer encountered within the pitiful built landscape of the actual post-communist years.
Valentin Mandache, architectural historian 