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The Making

The Making
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    • The Making
    • Facerea
  • 1963
  • monotype on paper
  • 31,7 × 28 cm
Roman Cotoșman’s 1963 stay in Paris allowed him to encounter the expressive practices and existential meanings of lyrical abstraction. The artist later confessed that he had already felt that a lyrical, gestural side was already present in him prior to his departure to France. This expressionist dimension must necessarily be connected with his early painting on religious themes, with the series of works dedicated to subjects such as crucifixion or entombment of Christ. The monotypes in which he experimented with the abstract treatment of form, with direct physical intervention on the surface, underscored his commitment to recast the visual language. Under the banner of “breaking with the visual mark,” this short but intensive period of his career reanimated a forgotten technique, that of the monotype, albeit upgraded by the artist via the inclusion of innovative tools such as root brushes, drum brushes, combs, radiographic films, and paint rollers. A.Se.