{"id":569,"date":"2017-12-31T17:01:32","date_gmt":"2017-12-31T14:01:32","guid":{"rendered":"http:\/\/dipse.ro\/constantin\/?p=569"},"modified":"2017-12-31T17:01:32","modified_gmt":"2017-12-31T14:01:32","slug":"resurectia-eului-spiritual-centenar-constantin-dipse-1917-2017","status":"publish","type":"post","link":"https:\/\/dipse.ro\/constantin\/resurectia-eului-spiritual-centenar-constantin-dipse-1917-2017\/","title":{"rendered":"Resurec\u021bia eului spiritual \u2013 centenar Constantin Dip\u0219e (1917 – 2017)"},"content":{"rendered":"

discurs \u021binut de Dl. prof. Petre Constantinescu la vernisajul expozi\u021biei „Tablou de Centenar”<\/p>\n

 <\/p>\n

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Cer \u00eeng\u0103duin\u021ba s\u0103 \u00eencep cu o m\u0103rturisire: m\u0103 num\u0103r printre cei care au avut prilejul s\u0103-l cunoasc\u0103 nemijlocit pe Maestrul Constantin Dip\u0219e, a c\u0103rui personalitate \u0219i a c\u0103rui oper\u0103 le omagiem \u00een acest an, s\u0103 fiu printre cei c\u0103rora Cineva acolo Sus le-a oferit \u0219ansa s\u0103 se \u00eemp\u0103rt\u0103\u0219easc\u0103 cu (de) altitudinea euharistic\u0103 a darurilor sale pluridimensionale, s\u0103-\u0219i adape setea de frumos din izvorul paradisiac al \u00eenzestr\u0103rilor sale artistice. Ba mai mult dec\u00e2t at\u00e2t, eu, biet Icar Ne\u00eenaripat am primit de la Maestrul Constantin Dip\u0219e, \u00een urm\u0103 cu aproape 35 de ani \u2013 cu o splendid\u0103 dedica\u021bie \u2013 un minialbum de art\u0103 con\u021bin\u00e2nd o selec\u021bie din opera sa, un album ap\u0103rut \u00een 1983 la Editura Sport-Turism. Mai este \u2013 oare \u2013 nevoie s\u0103 spun c\u0103 tulburarea pe care mi-a produs-o, chiar de la \u00eenceput, opera Maestrului Constantin Dip\u0219e avea s\u0103-\u0219i pun\u0103 amprenta, \u00een chip decisiv, asupra \u00eentregii mele existen\u021be, conferindu-mi acea aur\u0103 spiritual\u0103 f\u0103r\u0103 de care, fire\u0219te, via\u021ba noastr\u0103, a tuturor ar fi un nonsens … Sau – altfel spus – ar fi doar expresia celor patru forme de Nimic despre care, at\u00e2t de sugestiv, a vorbit Immanuel Kant (\u00een \u201eCritica ra\u021biunii pure\u201d) …<\/p>\n

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F\u0103r\u0103 a fi unul dintre cei mai aviza\u021bi comentatori din domeniul artelor plastice, \u00eenclin – totu\u0219i – s\u0103 cred c\u0103 una din tr\u0103s\u0103turile inconfundabile ale crea\u021biei lui Constantin Dip\u0219e rezid\u0103 \u00een capacitatea excep\u021bional\u0103 a artistului de a se situa la confluen\u021ba inefabil\u0103 dintre cele dou\u0103 mari tendin\u021be care au marcat istoria artei rom\u00e2ne\u0219ti \u0219i universale odat\u0103 cu zorii epocii moderne, adic\u0103 \u00eencep\u00e2nd cu Manierismul \u0219i Barocul (\u0219i) anume: acribia desenului, pe de o parte \u0219i debordan\u021ba cromatic\u0103, pe de alt\u0103 parte.<\/p>\n

Iar \u00een aceast\u0103 ordine de idei, cele mai reprezentative sunt – \u00een primul r\u00e2nd – cred – peisajele Maestrului Constantin Dip\u0219e, din care \u00eemi permit, acum, s\u0103 amintesc c\u00e2teva (tablouri): IARN\u0102 \u00ceN BIHOR, DUP\u0102 SECERI\u0218, PRIM\u0102VARA, VIILE ALBASTRE, \u00ceN IULIE, SPRE SOARE, PRIM\u0102VAR\u0102 TRANSILVAN\u0102, SPRE SEAR\u0102 \u0219.m.a<\/p>\n

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Apoi, cred c\u0103 ar trebui evocat\u0103 – \u00een crea\u021bia Maestrului Constantin Dip\u0219e – Voca\u021bia Interiorit\u0103\u021bii – \u0219i ea o tr\u0103s\u0103tur\u0103 definitorie a plasticii na\u021bionale \u0219i europene instituit\u0103 de arti\u0219tii apar\u021bin\u00e2nd Manierismului \u0219i Barocului, tr\u0103s\u0103tur\u0103 concretizat\u0103 \u00een dezvoltarea f\u0103r\u0103 precedent a dou\u0103 tipuri de crea\u021bii: \u00eent\u00e2i, autoportretul propriu-zis, at\u00e2t de bine reprezentat \u0219i \u00een opera Maestrului Constantin Dip\u0219e, din care cer \u00eeng\u0103duin\u021ba s\u0103 amintesc cel pu\u021bin o crea\u021bie de-a dreptul excep\u021bional\u0103, at\u00e2t de sugestiv intitulat\u0103 STUDIU<\/em>, iar apoi, metamorfozarea clasicelor \u201eportrete\u201d \u00een tot at\u00e2tea prilejuri de introspec\u021bie, de introversie, de analiz\u0103 psihologic\u0103; iar c\u00e2nd spun aceasta, m\u0103 g\u00e2ndesc, \u00een primul r\u00e2nd, la tablouri precum: FAMILIE<\/em>, M\u0102RIUCA<\/em>, S\u0102RB\u0102TOARE O\u0218ENEASC\u0102<\/em>, CORUL FETELOR<\/em> \u0219.m.a.<\/p>\n

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\u0218i \u00eenc\u0103 o particularitate a portretisticii lui Constantin Dip\u0219e: personajele imortalizate de marele artist \u201eprivesc\u201d, parc\u0103, dincolo de cadrul oarecum limitat al tabloului, \u00eenspre noi, privitorii, ceea ce conduce , pe de o parte, la \u0219tergerea grani\u021belor dintre prim-plan \u0219i fundal iar pe de alt\u0103 parte, dintre Creator \u0219i Receptorul de Art\u0103. Asupra acestei tehnici plastice a atras aten\u021bia \u2013 \u00een mod deosebit \u2013 dup\u0103 cum bine se \u0219tie \u2013 Umberto Eco (\u00een \u201eOpera deschis\u0103\u201d).<\/p>\n

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S-a spus \u2013 mai mereu \u2013 \u0219i pe bun\u0103 dreptate \u2013 c\u0103 opera lui Constantin Dip\u0219e se resimte \u2013 puternic \u2013 de \u201eparfumul\u201d acelui veritabil \u201ecol\u021b de rai\u201d care este Maramure\u0219ul s\u0103u natal; \u0219i nu pu\u021bine sunt\u00a0 lucr\u0103rile ce ilustreaz\u0103 acest \u201esegment\u201d reprezentativ al voca\u021biei sale creatoare; nu insist (\u00eens\u0103),\u00a0 \u00eentruc\u00e2t pe multe dintre ele deja le-am amintit. O singur\u0103 precizare \u2013 cred \u2013 \u00eens\u0103 \u2013 c\u0103 ar trebui f\u0103cut\u0103 \u00een aceast\u0103 ordine de idei: de\u0219i at\u00e2t de bine reprezentat \u00een opera lui Constantin Dip\u0219e, filonul folcloric, na\u021bional etc., nu func\u021bioneaz\u0103 – \u00een nici un caz ! – \u00een sens restrictiv, limitativ; mai exact spus, el nu are \u2013 nicidecum \u2013 darul s\u0103 confere acestei admirabile opere un \u201eaer\u201d oarecum provincial … Dimpotriv\u0103, absolut toate p\u00e2nzele Maestrului Constantin Dip\u0219e eman\u0103 \u2013 cu generozitatea specific\u0103 doar creatorilor autentici – dimensiuni universale … Iar pentru a fi (\u0219i) mai explicit – \u00een ceea ce vreau s\u0103 spun – din acest punct de vedere – cred\u00a0 c\u0103 cel mai nimerit ar fi s\u0103 corel\u0103m aceast\u0103 Voca\u021bie a Universalit\u0103\u021bii cu Voca\u021bia Interiorit\u0103\u021bii, despre care am vorbit pu\u021bin mai \u00eenainte. Iar din aceast\u0103 dubl\u0103 perspectiv\u0103, sunt ferm convins c\u0103 nu doar operei, ci \u0219i personalit\u0103\u021bii Maestrului Constantin Dip\u0219e li se pot aplica cele trei \u201epermanen\u021be\u201d (universale) despre care vorbe\u0219te Constantin Noica (\u00een \u201eModelul cultural european\u201d): (adic\u0103) filonul mitologic, reflexivitatea \u0219i creativitatea.<\/p>\n

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Din toate aceste considerente, sunt tentat s\u0103 cred c\u0103 personalitatea deosebit\u0103 a Maestrului Constantin Dip\u0219e satisface \u2013 \u00eentru totul \u2013 cele dou\u0103 \u201econdi\u021bii\u201d are creatorului (modern) de art\u0103 la care se refer\u0103 acad. Eugen Simion (\u00een \u201eDiminea\u021ba poe\u021bilor\u201d): Con\u0219tiin\u021ba \u00centemeierii \u0219i Con\u0219tiin\u021ba Artistic\u0103.<\/p>\n

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N-a\u0219 vrea s\u0103 uit \u2013 \u00eens\u0103 \u2013 nici \u00eenc\u00e2nt\u0103toarele \u201eflori\u201d ale Maestrului Constantin Dip\u0219e; \u00een primul r\u00e2nd,\u00a0 pentru c\u0103 ele ne ajut\u0103 s\u0103 \u00een\u021belegem\u00a0 – \u00een alt mod, mai complex – raportul dintre \u201euman\u201d \u0219i \u201enatural\u201d: FERIG\u0102<\/em>, CLOPO\u021aEI<\/em>, TULIPAN<\/em>, OGIV\u0102<\/em>, TUF\u0102NELE<\/em> etc. \u0218i mai exact spus: aceste crea\u021bii artistice excep\u021bionale ne confirm\u0103 – \u00een cea mai mare m\u0103sur\u0103 – adev\u0103rul acelei at\u00e2t de pertinente observa\u021bii a lui John Ruskin (din \u201ePictori moderni\u201d): \u201eCel ce nu simte nevoia s\u0103 \u00eempr\u0103\u0219tie cea\u021ba de pe lucrurile care-l \u00eenconjoar\u0103, nu va cunoa\u0219te niciodat\u0103 puterea artei\u201d.\"\"<\/a><\/p>\n

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\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Surprinz\u0103tor mi se pare faptul c\u0103 nimeni \u2013 p\u00e2n\u0103 acum \u2013 nu a eviden\u021biat \u2013 at\u00e2t c\u00e2t ar fi trebuit \u2013 \u00een ceea ce prive\u0219te \u201epeisajele\u201d \u0219i \u201eflorile\u201d lui Constantin Dip\u0219e ceea ce s-ar putea numi mo\u0219tenirea cultural\u0103 a Barbizonului; cu at\u00e2t mai mult cu c\u00e2t ea s-a manifestat – plenar – \u00een arta plastic\u0103 rom\u00e2neasc\u0103 din chiar\u00a0 momentul cristaliz\u0103rii ei, \u00eencep\u00e2nd cu Nicolae Grigorescu (\u201eIntrare \u00een p\u0103dure\u201d, \u201ePeisaj cu st\u00e2nci\u201d, \u201eLumini\u0219 la Posada\u201d) \u0219i Ion Andreescu (\u201ePeisaj din cr\u00e2ngul Buz\u0103ului\u201d, \u201ePeisaj de iarn\u0103\u201d, \u201eIarna \u00een cr\u00e2ng\u201d, \u201eCr\u00e2ng desfrunzit\u201d, \u201eStejarul\u201d, \u201eSt\u00e2ncile\u201d, \u201e\u00cenceputul prim\u0103verii\u201d, \u201eP\u0103dure de fagi\u201d, \u201eSt\u00e2nci \u0219i mesteceni\u201d) \u0219i continu\u00e2nd cu \u0218tefan Luchian (\u201ePeisaj\u201d), Theodor Pallady (\u201ePeisaj\u201d), Gheorghe Petra\u0219cu (\u201eC\u00e2rcium\u0103rese\u201d, \u201eFlori de c\u00e2mp\u201d, \u201eVar\u0103 la \u021bar\u0103\u201d) \u0219.m.a. Cel pu\u021bin dou\u0103 tr\u0103s\u0103turi definitorii ale acestor crea\u021bii \u00eendrept\u0103\u021besc \u2013 cred \u2013 o astfel de situare: intensitatea cromatic\u0103 \u0219i explozia de lumin\u0103. Iar dac\u0103 cineva se mai \u00eendoie\u0219te de existen\u021ba acestor puncte de convergen\u021b\u0103, e suficient – cred – s\u0103 amintim c\u00e2teva din cele mai cunoscute realiz\u0103ri plastice impresioniste care trateaz\u0103 acest at\u00e2t de generos subiect: \u201eSena la Argenteuil\u201d (Manet), \u201eFemeie cu crizanteme\u201d (Degas), \u201ePruni \u00eenflori\u021bi\u201d, \u201eIntrarea \u00een satul Voisins\u201d, \u201eLe lavoir, Pontoise\u201d (Pissaro), \u201eEle\u0219teu cu nuferi\u201d, \u201eMacii ro\u0219ii\u201d (Monet), \u201eFerm\u0103 \u00een Normandia\u201d (Morisot), \u201ePod pe Marna\u201d (Cezanne) \u0219.a.<\/p>\n

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\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Punctul central al expozi\u021biei omagiale prilejuite \u2013 dup\u0103 cum am mai spus \u2013 de \u00eemplinirea a 100 de ani de la na\u0219terea Maestrului Constantin Dip\u0219e este \u2013 f\u0103r\u0103 \u00eendoial\u0103 \u2013 de-acum celebra (sa) \u201eMadon\u0103 maramure\u0219ean\u0103\u201d; ceea ce \u0219i explic\u0103 \u2013 cred \u2013 faptul c\u0103 acest admirabil ulei pe p\u00e2nz\u0103 \u2013 de mari dimensiuni \u2013 focalizeaz\u0103 at\u00e2t interesul marelui public, c\u00e2t \u0219i pe cel al istoricilor \u0219i criticilor de art\u0103: at\u00e2t prin viziune, c\u00e2t \u0219i prin stil; cu o observa\u021bie, \u00eens\u0103: dac\u0103 acest excep\u021bional tablou prezint\u0103 \u2013 cum e \u0219i firesc, de altfel \u2013 analogii cu alte reprezent\u0103ri plastice \u2013 mai vechi sau mai noi \u2013 ale Maicii Domnului, atunci acestea nu trebuie c\u0103utate \u2013 dup\u0103 p\u0103rerea mea \u2013 nici \u00een arta gotic\u0103, nici \u00een cea renascentist\u0103 \u2013 a\u0219a cum sunt tenta\u021bi s\u0103 cread\u0103 unii admiratori \u0219i comentatori ai operei lui Constantin Dip\u0219e \u2013 ci dimpotriv\u0103 \u2013 cred eu \u2013 tot \u00een pictura manierist\u0103 \u0219i baroc\u0103; iar prin aceasta, inclusiv \u201eMadona maramure\u0219ean\u0103\u201d demonstreaz\u0103 \u2013 nu m\u0103 \u00eendoiesc \u2013 modul absolut inedit \u00een care opera lui Constantin Dip\u0219e se situeaz\u0103 la confluen\u021ba dintre tradi\u021bie \u0219i modernitate; \u0219i, implicit, sinteza inefabil\u0103 dintre filonul na\u021bional \u0219i elementul universal. Iar pentru a fi \u0219i mai conving\u0103tori, putem aminti \u2013 fie \u0219i \u00een treac\u0103t \u2013 c\u00e2teva crea\u021bii plastice deosebite care abordeaz\u0103 acest subiect: pictura de altar de la San Bernardino, av\u00e2nd \u00een centrul s\u0103u tocmai imaginea Fecioarei cu Pruncul (a lui Lorenzo Lotti); \u201eMadona de la San Girolamo\u201d \u0219i \u201eMadona de la San Giorgio\u201d (ale lui Correggio); \u201eMadona cu Pruncul, cu \u00eengeri \u0219i cu sf\u00e2ntul Girolam\u201d (a lui Parmigianino), \u201eMadona de la Carmel\u201d\u00a0 (a lui Pietro Novelli); \u201eMadona \u0219i sfin\u021bii\u201d (a lui Pietro Cortona) \u0219.a.m.d. Chiar din punct de vedere stilistic, \u201eMadona maramure\u0219ean\u0103\u201d justific\u0103\u00a0 \u2013 din plin \u2013 cred \u2013 situarea operei lui Constantin Dip\u0219e la grani\u021ba dintre tradi\u021bie \u0219i modernitate, prin fluiditatea reprezent\u0103rii plastice, prin luminozitatea ei, prin bl\u00e2nde\u021bea expresiilor, prin arta perspectivei, prin originalitatea solu\u021biilor artistice, prin gustul rafinat pentru culoare, prin concep\u021bia ei spectaculoas\u0103, prin capacitatea de sintez\u0103, prin intui\u021biile picturale excep\u021bionale, prin arta compozi\u021biei, prin fiorul ei afectiv, prin senza\u021bia de suavitate pe care o degaj\u0103, prin tonalit\u0103\u021bile ei potolite, prin tr\u0103s\u0103turile personajelor aduse \u00een prim-plan etc.<\/p>\n

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\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Faptul c\u0103 tablourile maestrului Constantin Dip\u0219e izbutesc s\u0103 treac\u0103 – indiferent de subiectul abordat \u2013 dincolo de reprezentare, de descriere, de palpabil etc., \u00een simbolic, m\u0103 fac s\u0103 cred c\u0103 acestei metode de crea\u021bie i s-ar putea aplica \u2013 foarte bine \u2013 una din(tre) cuget\u0103rile artistice ale pictorului Elstir, din romanul lui Proust (\u201e\u00cen c\u0103utarea timpului pierdut\u201d), care socotea c\u0103 adev\u0103ratul creator de art\u0103 trebuie s\u0103 urm\u0103reasc\u0103 \u2013 ne\u00eencetat \u2013 \u201edizolvarea a tot ceea ce g\u00e2ndim \u0219i a tot ceea ce ne \u00eenconjoar\u0103 \u00een viziuni\u201d. Idealul \u2013 spunea tot Elstir \u2013 dup\u0103 cum bine se \u0219tie \u2013 const\u0103 \u00een a \u201esmulge totul din ceea ce sim\u021bim\u201d. Este \u2013 nu m\u0103 \u00eendoiesc – exact ceea ce face \u0219i Maestrul Constantin Dip\u0219e, \u00een (toate) p\u00e2nzele sale.<\/p>\n

*\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 *\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 *<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Recursul la experien\u021ba (artistic\u0103) impresionist\u0103 atunci c\u00e2nd vrem s\u0103 eviden\u021biem valen\u021bele plastice ale \u201epeisajelor\u201d \u0219i \u201eflorilor\u201d lui Constantin Dip\u0219e poate fi \u2013 \u00eens\u0103 \u2013 util \u0219i dintr-un alt punct de vedere: astfel, s-a spus \u2013 \u0219i nu de pu\u021bin ori \u2013 c\u0103 \u2013 oric\u00e2t ar putea p\u0103rea de paradoxal \u2013 \u00een ciuda pronun\u021batei sale tente na\u021bionale, mai exact spus maramure\u0219ene, opera lui Constantin Dip\u0219e se resimte \u2013 destul de puternic \u2013 \u0219i de influen\u021ba picturii japoneze. Exist\u0103 \u2013 cred \u2013 destule analogii \u00eentre crea\u021bia Maestrului Constantin Dip\u0219e, pe de o parte \u0219i aceea a \u0218colii de la Barbizon, pe de alt\u0103 parte, at\u00e2t\u00a0 \u00een ceea ce prive\u0219te modul \u00een care s-a realizat contactul cu arta Extremului Orient, c\u00e2t\u00a0 \u0219i\u00a0\u00a0\u201enuan\u021bele\u201d existente \u00een interiorul acestei noi experien\u021be artistice, \u00een sensul c\u0103\u00a0 el nu a fost unul direct, ci unul mediat \u0219i nu a fost unul integral; tot astfel cum genera\u021bia lui Manet, Monet, Pissaro, Renoir \u0219.a. a cunoscut arta japonez\u0103, la \u00eenceput, doar prin intermediul obiectelor orientale expuse de d-na Desoye (care locuise cu so\u021bul s\u0103u \u00een Japonia) \u00een magazinul s\u0103u (\u201eLa Porte Chinoise\u201d); ori \u00een felul \u00een care \u2013 aidoma unor impresioni\u0219ti precum Degas (care, dup\u0103 cum bine se \u0219tie, nu a fost foarte atras de arta Extremului Orient) \u2013\u00a0 Maestrul Constantin Dip\u0219e insereaz\u0103 \u00een tablourile sale elemente de art\u0103 japonez\u0103 pentru decor, pentru recuzit\u0103 etc. \u0218i \u00eenc\u0103 un detaliu semnificativ, care-l apropie\u00a0 de data aceasta \u2013 pe Maestrul Constantin Dip\u0219e \u2013 de impresioni\u0219tii nepasiona\u021bi (\u00een mod deosebit) de arta japonez\u0103: astfel, asemeni acestora, el caut\u0103 \u2013 de fiecare dat\u0103 \u2013 s\u0103 imprime reprezent\u0103rilor sale plastice o extraordinar\u0103 putere dramatic\u0103.\u00a0 A\u0219adar, asemeni acestora, Maestrul Constantin Dip\u0219e a \u0219tiut s\u0103 caute \u2013 dincolo de orice posibil\u0103 influen\u021b\u0103 \u2013 originalitatea; \u00eentruc\u00e2t, aidoma altor impresioni\u0219ti (precum Renoir), pe Maestrul Constantin Dip\u0219e \u00eel intereseaz\u0103 nu at\u00e2t meticulozitatea armoniilor din arta japonez\u0103, c\u00e2t mai ales interpret\u0103rile care pot fi conferite acestora. \u00cencerc\u00e2nd s\u0103 intr\u0103m \u0219i mai \u00een detaliu, sesiz\u0103m \u2013 apoi \u2013 faptul c\u0103 \u2013 precum al\u021bi impresioni\u0219ti (precum Pissaro, de exemplu), pe Maestrul Constantin Dip\u0219e l-a atras din arta japonez\u0103 mai ales grandiosul (acesteia). Sau \u2013 ceea ce-l apropie de data aceasta de al\u021bi impresioni\u0219ti (ca Monet) \u2013 pe Maestrul Constantin Dip\u0219e l-a preocupat \u2013 din arta japonez\u0103 \u2013 \u00eendeosebi tehnica suger\u0103rii \u00eentregului, ansamblului prin fragment, prin am\u0103nunt.\u00a0Iat\u0103 \u2013 a\u0219adar \u2013 c\u00e2t de complexe au fost \u201eraporturile\u201d Maestrului Constantin Dip\u0219e cu arta japonez\u0103; doar astfel privindu-le, ne putem feri \u2013 cred \u2013 \u0219i noi \u2013 de concluzii eronate.<\/p>\n

*\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 *\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 *<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 Iar aceasta este \u2013 cred \u2013 de natur\u0103 s\u0103-l situeze \u2013 din nou \u2013 pe Maestrul Constantin Dip\u0219e la grani\u021ba dintre tradi\u021bie \u0219i modernitate: impresie \u00eent\u0103rit\u0103 de simpla rememorare a c\u00e2torva din tr\u0103s\u0103turile definitorii ale crea\u021biei sale: cultivarea formei deschise, atmosferice; utilizarea unui maximum de culoare \u0219i de lumin\u0103, \u00eentr-o m\u0103sur\u0103 at\u00e2t de mare \u00eenc\u00e2t se poate spune \u2013 f\u0103r\u0103 teama de a gre\u0219i c\u0103 adev\u0103ratele \u201epersonaje\u201d ale tablourilor sale sunt tocmai culoarea \u0219i lumina; tratarea diverselor subiecte nu pentru ele \u00eensele, ci pentru tonul lor; cultul detaliului semnificativ; adoptarea unei tehnici cu totul \u0219i cu totul aparte de reprezentare a spa\u021biului, const\u00e2nd \u00een aceea c\u0103 oamenii \u0219i obiectele nu mai sunt distan\u021bate, ca \u00een arta clasic\u0103, nu mai sunt izolate \u00een anvelopa pictural\u0103 existent\u0103 \u00een imagine, ceea ce face s\u0103 existe o \u201ere\u021bea\u201d continu\u0103 de rela\u021bii colorate, luminoase \u00eentre cadru (fundal) \u0219i personajele sau obiectele aduse \u00een prim-plan \u0219.m.a.<\/p>\n

*\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 *\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 *<\/p>\n

\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0\u00a0 A\u0219 vrea ca \u2013 \u00een loc de \u201e\u00eencheiere\u201d \u2013 s\u0103 ne amintim \u2013 \u00eempreun\u0103 \u2013 una din(tre) nenum\u0103ratele cuget\u0103ri pres\u0103rate de (c\u0103tre) Vincent van Gogh \u00een cele peste 400 de scrisori adresate \u2013 \u00eendeosebi de la Arles \u2013 fratelui s\u0103u, Theo: \u201eDac\u0103 pentru a merge la Paris trebuie pur \u0219i simplu s\u0103 ne urc\u0103m \u00een tren, \u00een schimb, ca s\u0103 ajungem la stele, trebuie s\u0103 lu\u0103m Eternitatea\u201d …<\/p>\n

Aceasta\u00a0 este \u2013 \u00een \u201eviziunea\u201d mea \u2013 cea mai important\u0103 \u201elec\u021bie\u201d Intelectual\u0103, Sufleteasc\u0103, Cultural\u0103, Artistic\u0103, Metafizic\u0103 \u2013 \u00eentr-un cuv\u00e2nt: Spiritual\u0103 \u2013 pe care ne-a transmis-o Maestrul Constantin Dip\u0219e, pe care \u00eel omagiem \u00een acest an, cu prilejul centenarului na\u0219terii sale.<\/p>\n","protected":false},"excerpt":{"rendered":"

discurs \u021binut de Dl. prof. Petre Constantinescu la vernisajul expozi\u021biei „Tablou de Centenar”   Cer \u00eeng\u0103duin\u021ba s\u0103 \u00eencep cu o m\u0103rturisire: m\u0103 num\u0103r printre cei care au avut prilejul s\u0103-l cunoasc\u0103 nemijlocit pe Maestrul Constantin Dip\u0219e, a c\u0103rui personalitate \u0219i a c\u0103rui oper\u0103 le omagiem \u00een acest an, s\u0103 fiu printre cei c\u0103rora Cineva acolo […]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[99,26,100,1,22,33],"tags":[106,24,119,122,120,121,123],"class_list":["post-569","post","type-post","status-publish","format-standard","hentry","category-99","category-biografie","category-centenar","category-fara-categorie","category-general","category-tablouri","tag-centenar","tag-constantin","tag-dips","tag-discurs","tag-petre-constantinescu","tag-prof-constantinescu","tag-vernisaj"],"_links":{"self":[{"href":"https:\/\/dipse.ro\/constantin\/wp-json\/wp\/v2\/posts\/569","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/dipse.ro\/constantin\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/dipse.ro\/constantin\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/dipse.ro\/constantin\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/dipse.ro\/constantin\/wp-json\/wp\/v2\/comments?post=569"}],"version-history":[{"count":0,"href":"https:\/\/dipse.ro\/constantin\/wp-json\/wp\/v2\/posts\/569\/revisions"}],"wp:attachment":[{"href":"https:\/\/dipse.ro\/constantin\/wp-json\/wp\/v2\/media?parent=569"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/dipse.ro\/constantin\/wp-json\/wp\/v2\/categories?post=569"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/dipse.ro\/constantin\/wp-json\/wp\/v2\/tags?post=569"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}