Architect and artist, member of the Union of Fine Artists in Romania, Sanda Vincenz Brediceanu, born in 1940 in Brasov, former professor at the University of Architecture and Urbanism “Ion Mincu” of Bucharest, was married for 25 years with Mihai Brediceanu, composer, conductor and Romanian musicologist with whom she has a son, Petru Brediceanu. She left this life in August 2016. Exhibitions: CRISTALS – 2002, MASKS – 2006 and STUDIES – November 2017. Sanda’s dream of painting became reality – as Constantin Noica says – through a school chosen by the soul, through a choice made later on in life.

“I had the desire to create the Belle-Arte Academy all my life. My mother was an artist, so painting is running through my veins. However, life took me in a different direction and I graduated architecture. I worked for six years on site and in design. Then I was a college professor for 25 years. I was surrounded by young people, and they loved me. But at the age of 58, after I retired, I have fulfilled my dream. I passed the exam at Belle-Arte and I was admitted there. If you have the madness of doing something, it’s never too late. When my son Peter was a second year student, I was a student in the first year. My husband Mihai told us amused: “It’s not easy with two students in the house”. My first paintings represented many objects: pots with apples, pears, leaves … Then crystals appeared in the pots. They grew up, poured out of the pots and began to fill by itself the whole canvas. For years I painted only crystals. I’ve done, I think, over 60 paintings on this theme.

Then I moved on to the humans, but the individuals in my drawings have never been seated, they were standing. Then they started to fall. And they’ve been falling for a few years in various forms and in different backgrounds. ”

Sanda Vincenz Brediceanu

Fine arts – like composition, interpretative, literary and performing arts belong to the world, as Umberto Eco makes clear through idiolect. The successful searches of some people offer aesthetic durability and proof to the work. The authors share contemplation, research, and even dissatisfaction. Sanda Vincenz Brediceanu is an artist not as prolific as self-critical.

Every time we contemplate a painting, we listen to a musical work, we are excited by a certain performance, or we dive into the world of a novel, or, of a play, we let us lead by the imagination of the author. This imaginary, however, has a special vision in the second plan – which consists of countless hours of work, critical spirit, many changes and extremely many variations on the same theme. Even the nature repeats itself to perfection.
The artist follows a rough and demanding path – and even though is exhausting it rewards the artist back with the most wonderful time- self- banishment in the atelier. Until she is fully satisfied with the freshness of a brush stroke, the depth of an intermediate tone, or the synthetic and fundamental anatomy of a character, Sanda will not come out. She never compromises. She continues to work until the result is closer to what she contemplated as accomplishment – always beyond what she imagined as perfection.

‘’ Humans falling’’ is one of the favourite theme of Sanda Vincenz Brediceanu, developed with assertive in the maturity years of her creation, which subtly evokes the empathic bestiary of Magdaléna’s Rădulescu – the Circus series but also the profound social spice, from the expressions of his paintings Toulouse Lautrec. His horses express wisdom and wise obedience and drawing in charcoal or blood is an excellent choice of environment but also a suitable compliment to the monumentality of Mestroveci – studied with certainty in the documentation that preceded the drawing.
Crystals are a fascinating insight into the compositional laws, an intellectual path mapped into the universe of natural algorithms, by surprise and iteration of the mineral growth mode. Perhaps that is why the delicacy of the notation resorts preponderant to pencil and nib and the main reason for this is for allowing to formal geometry to take the lead.

‘’Landscapes’’ – all done in pastel – bringing light into the frame, retain it and by amplifying it gives it luminousness. Apparent predictable themes like realistic scenes painted in pastel blend in curiosity, freshness, and even a deep humour of notation.

‘’Plants’’ series astonishes through the most unexpected compositions, with overlappings and interpositions generating a vegetal kingdom, so much distinctive to the author. The Heraldic characters rely on the fine transparency of lavish tones and lots of accessories that culturally position the genre tree of the subject.

Boulder stones, genuine spatial trihedral, which state their own way of responding to the gravitational attraction are actually a step further – or a simultaneous step to crystals. They submit the space by understanding their formal growth.

Last but not least, Portrait Studies document and prepare – just like the ancient choir – the fall or the entrance of the worlds.
The selection presented deliberately assumes its very heterogeneous character, precisely to give the viewer the privilege of a unique browsing, as a visit to the workshop.

This way the selection becomes an open invitation, a very generous and persuasive authoring entry, in an original world of preoccupations, themes and quests, from where Sanda VINCENZ BREDICEANU confesses her confidence in painting and the joy of looking.

conf.dr.arh. Francoise Pamfil