Andrei Sarbu (b. December 6, 1950, Chisinau - d.

April 14, 2000, Chiinu), Romanian painter from Bessarabia

who contributed to the renewal of plastic language of space Bessarabian accents promoter of modernist
painting. He managed to impose his works non figurative, and those made in the language's pop art and
photographic realism. On December 6, 2013 family web-site launched Artist, dedicated to the art of Andrei
Sarbu: http://andreisarbu.info
Early Years and training [edit | update source]
Between 1963 and 1966 he attended Andrei Sarbu AV School of Fine Arts Sciusev subsidiary Boarding School
no. 1 of Chisinau. This makes knowledge of graphic Vasile Cojocaru, painter and sculptor George Munteanu
Dumitru Rusu (Scvorov).
After this time go to St. Petersburg (then Leningrad) to continue their studies at the Faculty of Scenography
College of Theatre "Valentin Serov". Is forced to leave the university after three years of study material
considerations. Getting to St. Petersburg had a formal role and Andrei Sarbu allowed to become familiar with
the context of modern art, and between 1966-1967 and 1967-1968 studies at the College of Fine Arts in Tallinn,
Estonia.
Since 1968 study and workshop creates Bessarabian renowned painter Mihai Grecu.
Andrei Sarbu debut in 1968 with "bite the parental home" in the autumnal exhibition at the National Museum of
Fine Arts in Chisinau. In the same year begins work as a designer of Theatre "Evening Star" from Chisinau in
collaboration with Esther and Mihai Grecu, Ion Ungureanu and Elijah Todorov.
In 1971 he Mihai Grecu secundeaz the development and execution of the blank drawing for the decoration of
the interior monumental Soviet Pavilion at the International Fair in Leipzig.
Since 1973 Andrei Sarbu working as a professor of painting and decorative art in courses for painters,
decorators organized by the Ministry of Culture of Republic of Moldova.
Debut work "bite the parental home" (1968) was not preserved, but an artist's impression of the result of that
time gives us the opera "bite" (1974).
The canvas "Apples" (1974) is a reference work of Andrei Sarbu's creation. [1]
Paintings "Clock-1" and "Watch 2" (1976) within which they are embedded fragments of lace and face of a
clock without needles attest the importance given by the artist in the 70s, collage technique.
Also in this period Andrei Sarbu participate in painting restoration of the church in the village Stolniceni
County Lpuna with architects Michael Chiosev, Valerian Grosu Ion Moraru. And in 1979 jointly undertake
monumental works by architect Michael Chiosev in common Tristeni Valley, Ungheni County.
Due to American artists such as Don Eddy and Andrew Flack, photorealism is popular in Europe and Andrei
Sarbu embraced this language after creating a series of works influenced by Pop Art, his "project" (1976-1977)
representing a work reference in this series.
The work "Concerto grosso" (1978-1979) marks the transition from painting photorealistic paintings to the new
cycle of the 80s. Reason cinematographic film frames segmented into two distinct picture can be found in this
paper and the image sunflower, subsequently, along with quince, one of the reasons favorite still life made by
Andrei Sarbu.
Time of the cycle of paintings entitled "Reflexes" (1987-1989) is considered by Andrei Sarbu period to achieve
full maturity in creation. Works from this period as "sky", "crossing forests of brass", "Being cutreeram forest
boy", "should I learn I did not ever die" and the cycle of paintings entitled "Field" take such lyrical abstraction.
Since 1988, largely because of Marat Gelman eforturior Andrei Sarbu begin participating in exhibitions
Moscow.

The paper "Sonnet" (1989) is une of the most representative of the series "reflexes" that can be detected
influence of Abstract Expressionism, supremacy and current De Stijl. "Crossing the woods of brass" (1989) is
one of the most poetic works of this period.
Mihai-Stefan Poiat wrote about his "green field Twilight" (1990): "we are witnessing here a" quarrel "between
Pollock and Mondrian, but I think it's a replica of the real soon to address the ideal, the reality is spontaneous
gesture, emotional explosion . This jerk violent rigors geometric brush over calm is as impulsive as it is wise,
and I suggest that "emotional explosion" was meditated and "replica" (strife) rather a "rendez-vous" than
expected for what would be ideal and reality without which value would be ideal short real? "[1]
Tomoiko Yuri wrote: "Pair spontaneous gesture fine structure provides a rigorous integrity Sarbu's paintings,
and hence the ease breathing cloth interior space and aesthetic refinement concepts". [1]
By imperceptible transitions from one tone to another violent or impulsive snatches of the brush, the color
restrictive (generating "grisaille") or kaleidoscopic display of the entire color spectrum painting Andrei Sarbu
has an absolutely unmistakable language and architecture. "[4]
To understand the work, you do not need any decryption. Need soul. Andrei Sarbu better than anyone managed
to paint light. He knew how to break her fall to the depths. [...] We decided to play world painfully, as if they
looked at it from the outside. We presented a world that wanted to choose only light, collecting gold in autumn,
sunflower, the quince, the chain of wheat, yellow consuming a heartbreaking yellow, yellow without limitation,
left New Lessons purification. "