Ion Grigorescu
(Bucharest, 1945)- Around the table, 2015
- Drawing?, 2014
- Cortinas de la democracia, 2012
- The poor people are fending for themselves, 2009
- Wax Cherry Tree, 2009
- Returned Cart, 2009
- The Portuguese carpet, 2009
- Sleep, 2008
- Documenta 12, 2007
- Skin, 2006
- Study for Oedipus, 1985
- Portrait(s) of Ceausescu, 1980
- Selfsuperposeds, 1976-1979
- Dialogue with Ceauşescu, 1978
- Box, 1977
- Masculine – Feminine, 1976
- Electoral Meeting, 1975
Portrait(s) of Ceausescu, 1980
Official request for a portrait painting by the dictator Nicolae Ceausescu. Painting
ENG
“In 1980, asked to do a portrait of Ceausescu, Grigorescu was obliged to respond to this request and submitted an intriguing work, which was turned down by the cultural bureaucrats who objected that the portrait did not comply with the strict requirements entailed by Ceausescu’s personality cult. As one may notice, the dictator is depicted in three different attitudes within the same painting, in a manner which disrupts the conventional iconography that usually places Ceausescu (or the presidential couple) in the centre of the composition. Moreover, Ceausescu is seen giving instructions, as he is typically shown in the so called “working visits”, but here his attitudes evince a certain hesitation as if he were pondering over a decision, or seeking advice. The artist’s intention, as he himself admitted, was to make manifest Ceausescu’s human side. Following this rejection, the artist had to repaint Ceausescu’s portrait; this time the critical comments pointed at the naturalistic details of the anatomy: the dictator’s hands were disproportionately large, his swollen veins were too obvious; briefly put, the artist painted an unflattering portrait of the ruler of the state.”
(Magda Radu, Art and Politics: considering some of Ion Grigorescu’s films and photographs)
CAST
“En 1980, obligado a responder a un encargo de retrato de Ceausescu, Grigorescu entregó un trabajo intrigante que fue rechazado por los burócratas culturales objetando que el trabajo no cumplía con los estrictos requisitos establecidos por el culto a la personalidad de Ceausescu. Uno puede notar que el dictador aparece desdoblado en tres actitudes diferentes en el interior del mismo retrato, en una disposición que perturba la iconografía tradicional que coloca Ceausescu en el centro de la composición. Además Ceausescu aparece dando instrucciones, tal y como se lo solía representar durante visitas de trabajo, pero aquí sus actitudes esbozan cierto aire dubitativo y muestran una solicitud de consejo. La intención del artista, admitida por él mismo, era poner de manifiesto el lado humano de Ceausescu. Sin embargo, tras el rechazo, el artista tuvo que repintar el retrato. Esta vez los comentarios críticos se centraron en los detalles anatómicos naturalistas: las manos del dictador eran desproporcionadamente largas, sus venas demasiado visibles…En resumen, un retrato demasiado poco halagador.”
(Magda Radu, Art and Politics: hablando sobre algunas fotografías y películas de Ion Grigorescu)