The Painting Department was one of the fundamental pillars on which the artistic academic education in Bucharest was built all through its long history, and continues to remain one of the most important departments in the National University of Arts.

Starting with Theodor Aman, the first director of the first superior school of arts and up to the present moment, the Painting Department educated and trained a whole group of artists whose works contributed substantially to enriching the national and (why not) universal patrimony.

Ioan Andreescu, Stefan Luchian, Gheorghe Petrascu, Camil Ressu, Corneliu Baba, Alexandru Ciucurencu, Ion Bitzan, Florin Mitroi, former students or professors of the School of Fine Arts in Bucharest are just a few of the significant names in Romanian art history.

After a long period of crass political interferences, in 1990 the artistic education in Bucharest began to respond to the interwar tradition, as well as to resynchronize with the European liberal and democratic tradition.

After 1990, artists with great visibility and pedagogical openness were recruited as members of the new teaching body, such as Gheorghe Anghel, Stefan Caltia, Florin Ciubotaru, Marin Gherasim, Sorin Ilfoveanu and others.

The diversity of pedagogical options is mainly formative, the courses aiming at developing abilities specific to visual arts as well as at creating a basis for a profound understanding of the contemporary cultural space.

The courses aim and contribute to the effort of synchronizing Romanian visual arts with international contemporary preoccupations, as well as to stimulating the formation of the future professional’s own plastic language.

The symposia and the exhibitions organized within various public spaces and galleries constitute a natural extension of the pedagogical activity during the years of study.

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Studii de licență

B.A. Studies

 

1st GRADE

 

Techniques of plastic representation – the bases of composition and the analysis of visual language

The course addresses composition from the perspective of the multitude of angles it has been approached from throughout the times and in the creations of many artists, landmarks of art history. Consequently, we do not attempt to define composition, but to freely explore several points of view on the topic.

 

Techniques of plastic representation – the bases of color

We aim to clarify notions specific to painting: contrast, harmony, model and modulation, intensity, saturation and also the expressive potential of these notions. In order to approach and understand the above-mentioned notions we apply a concept – plastic theme to a particular topic of study. During the first two semesters of studying color, the topics are based on nature study with a wide range of approaches, from themes which aim to represent reality (local tone) to themes which require a higher level of interpretation (solving a theme in a minor range or in a complementary contrast, a.o.).

 

Techniques of plastic representation – the bases of drawing

The course aims to define the notion of drawing at large, as a type of plastic language which mainly deals with two-dimensional representation. During the course, we wish to make the student aware of the (technical and conceptual) possibilities and limits of drawing. We underline the fundamental connection between the technical aspects of drawing and the conceptual load of the course and the manner in which the intermingling of the two allows for the materialization of projects, ideas, a.s.o.

 

Computerized image processing

Rasterized image and digital color. Program tools, selections, brushes, vectors. Program commands, image adjustments. Tools’ special windows, layers, channels. Modeling a personal portfolio.

 

Intership

Students’ activities are carried out in parallel with class study (extra-curricular research), are organized based on the curriculum and support professional achievement through plastic education.

 

The techniques and technologies of easel painting, chromatics and restoration

The course aims to develop the skills related to image design, in relation to the defining classical phases in art history, as well as to facilitate the acquisition of the technological norms necessary for their achievement.

 

 

2nd GRADE

 

The study of color for painting

The course manages the transition from the themes of the first year of study (focused on a rather didactic-academic study) to themes focused on the student’s individuality and sensitiveness. In this way, the student will be stimulated to try a new approach of the issues of color from a superior perspective and by focusing on the expressivity of the result. The themes of study decrease in quantity in comparison with individual proposals, the students being encouraged to devise their own endeavors in order to apply an individual program of study to problems specific to each endeavor.

 

The study of drawing for painting

The course manages the transition from the themes of the second year, based on approaching the techniques of two- and three-dimensional representation, to a superior level of understanding of the significance of drawing within painting. The themes consist of proposals and personal projects, the students being encouraged to pursue their own endeavors meant to facilitate the application of an individual study program specific to each endeavor.

 

Techniques of two- and three-dimensional representation

The course marks a new stage in the understanding of issues related to the relation between the two-dimensional and the three-dimensional. We aim to go beyond the conventional understanding of drawing and other representation techniques (for instance, spatial drawing or three-dimensional painting) and this approach answers the transformations and the new acquisitions in the plastic language specific to contemporary art. We will develop the plastic themes both in relation to the themes of study of drawing and color, and in relation to the students’ own personal proposals.

 

Painting composition

The course advances variants of image construction related both to the documentation in the field, and to the students’ own intentions – connections, analogies, innovations.

 

Intership

Students’ activities are carried out in parallel with class study (extra-curricular research), are organized based on the curriculum and support professional achievement through plastic education.

 

The techniques and technologies of easel painting, chromatics and restoration

The course aims to develop the skills related to image design, in relation to the defining classical phases in art history, as well as to facilitate the acquisition of the technological norms necessary for their achievement.

 

 

3rd GRADE

 

Internship – elaborating the Bachelor’s project

Designing, developing and finalizing the Bachelor’s project.

 

The techniques and technologies of easel painting, chromatics and restoration

The course aims to develop the skills related to image design, in relation to the defining classical phases in art history, as well as to facilitate the acquisition of the technological norms necessary for their achievement.

Studii masterale

M.A. Studies

 

1st GRADE

 

Strategies of plastic representation in painting

Conceived as expressive principles of the artistic language, the strategies of plastic representation will be approached thematically, conceptually and practically, using as illustrative material for analysis both the students’ projects and the landmark iconography in the universal art.

 

Principles of structuring research in visual arts

During the 1st year, this mainly theoretical course will be adapted continuously to the implicit practical endeavors, as follows: in the first semester, we will reiterate the principles of structuring research in visual arts from the perspective of historical development and its contemporary phenomenology; in the second semester we will ask for a synthesis of these principles and the identification of methods and solutions to render them adequate and personalize them within the students’ own artistic enterprises.

 

The development of the Master’s project

Designing, developing and finalizing the dissertation project.

 

2nd GRADE

 

Strategies of plastic representation in painting

The 2nd year will be (exclusively) dedicated both to the selective transposition of projects and to the conceptual openings implicit in any authentic artistic endeavor, with respect both to its configuration and to the structuring of the theoretical defense of the Master’s project.

 

Principles of structuring research in visual arts

During the two years, the initial individual themes which represented the projects and the concrete bases for the students’ admission to the Master’s program – revised and restructured, improved, reformulated and reevaluated – will be approached from two complementary directions: by conceptual extension they will become research themes (of study and redesign / resemantization) and by their practical approach, simulation themes (attempt / practice) of contemporary artistic issues.

 

Dissertation project

Providing guidance for designing the final dissertation project.

Painting

Strada Gen. Constantin Budișteanu 19,
București 010773

Telefon: +(40) 21.312.7215
E-mail:  fap@unarte.org