#Exhibit of the Month

To mark the 150th anniversary of the birth of the great Romanian sculptor Constantin Brâncuși, 2026 was declared by the President of Romania the Year of Constantin Brâncuși. Constantin Brâncuși, one of the greatest sculptors of the twentieth century, was born in 1876 in Hobița, Gorj County, and passed away in 1957 in Paris; he was buried in the Père-Lachaise cemetery. In 1904 he arrived in Paris, where he attended courses at the Royal Academy of Fine Arts. There he also worked in the studio of Auguste Rodin (1840-1917), the founder of modern sculpture, and met Amadeo Modigliani (1884-1920), the Italian sculptor settled in France. Inspired by the work of these artists, he perfected his artistic training in Paris. His works are held in museums both at home and abroad, in the Netherlands, the Scandinavian countries, France, and the United States of America. For his outstanding merits he was awarded the Order of the Star of Romania in 1923; in 1931 Nicolae Iorga proposed him for the Order of Cultural Merit; and only in 1990 was he posthumously elected a member of the Romanian Academy.
One of the artist's most famous creations is the sculpture Mademoiselle Pogany, considered a national symbol of modern Romanian art. Its protagonist was Margaret Pogany (1879-1964), a young Hungarian painter who came to Paris in 1909 to study painting techniques. Visiting her studio, she asked the sculptor to make her portrait, even leaving him a photograph and a self-portrait. In 1911 Brâncuși sculpted her likeness from memory in marble and in bronze, focusing on the deep, large, almond-shaped eyes, the subdued eyebrows, the narrow nose, the small mouth, the austere hairstyle and the modest gesture of the hands, rested against the face. Between 1912 and 1933 he produced nineteen versions of Mademoiselle Pogany.

The commemorative medal "Constantin Brâncuși (1876-1976). Expoziție Filatelică Omagială - București 1976" was struck in Romania at the State Mint by the engraver Ștefan Grudinschi. Executed in bronze with a diameter of 60 mm and a weight of 113.73 g, the medal is remarkable for its memorial and artistic value. Obverse: the sculptor's bust facing left, with the semicircular legend "CONSTANTIN BRÂNCUȘI - 1876-1976." Reverse: a fragment of the triptych The Gate of the Kiss. Semicircular legend: "EXPOZIȚIA FILATELICĂ OMAGIALĂ - BUCUREȘTI 1976."
The medal "Constantin Brâncuși. Mademoiselle Pogany. Craiova Art Museum. 1987" was also executed in bronze at the State Mint (Bucharest); it has a nominal diameter of 60 mm (because of the circular cutting the actual dimensions are D: 45 mm; weight: 53.55 g). The obverse shows, in the central field, an image of the Craiova Art Museum framed by the semicircular legend "MUZEUL DE ARTĂ - CRAIOVA / 1987." The reverse depicts a replica of the sculpture Mademoiselle Pogany made by Brâncuși's pupil O. Moșescu, accompanied by the inscription "CONSTANTIN BRÂNCUȘI - M-elle POGANY / 1913."

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Publications

Library „Tyragetia"

Natalia Mateevici

Greek Amphorae in Barbaric World of North-Western Coast of Pontus Euxinus in 6th – Early 2nd Centuries B.C.

Series “Biblioteca “Tyragetia” XIV, Chisinau, 2007, 284 p. ISBN 978-9975-80-080-8.

The given monographic study is the first synthesis work on the development of trade relations between the ancient Greek civilization and the indigenous tribes of the area between the Eastern Carpathians and the Southern Bug.
The work is focused on study and research of a single category of artifacts of Greek imports – amphorae, the special vessels for storage and transport of liquids, especially wine and olive oil, the main categories of Greek-barbarian trade. Being also the largest category of Greek imports in the barbarian world, amphorae accurately reflect all stages of development of Greek-barbarian trade in ancient times.

In the paper there was studied and published amphora material from the collections of institutions from three countries: the Republic of Moldova, Romania, and Ukraine.

Using an impressive number of original sources makes this work an exhaustive, thereby raising its value to science.
Study of Greek amphorae and their spreading in the barbaric world enables researchers to keep a relatively accurate dating of archaeological sites of the natives of the north-western Black Sea area.

The text of the work is complemented with a great number of illustrations which include images of the vessels themselves and 18 maps. There is also the first catalog of Greek amphora stamps found in this area that was compiled by the author and contains about 370 stamps.