(b. 1942, Brașov)
Stefan Caltia is one of the most important and valuable contemporary Romanian painters. A student of Julius Podlipny in Timişoara and of Corneliu Baba in Bucharest, the artist was also the professor of many generations at the National University of Arts in Bucharest. Alongside his well-known practice in the graphics field, Câlţia creates thorough and visually striking paintings, precious still lives, symbolic and theatrical compositions, or landscapes with herbs and fields from Transylvania. His works are held in a number of private collections in Europe and in museums such as the Museum of Contemporary Art in Oslo, Norway, the HR Giger Museum in Gruyére, Switzerland, the National Museum of Contemporary Art Romania and the Brukenthal Museum in Sibiu, Romania. He was awarded the Grand Cross of the National Order for Faithful Service and the King Michael I Medal for Loyalty. He lives and works in Bucharest and in Şona, Făgăraş. Since 2011 has been working with AnnArt Gallery, where he had six personal exhibitions (Oak for the King – Flowers for the Queen in 2012, Forgotten Minutes in 2013, Recent Works in 2016 and Artworks from Over the Summer: The Theatrical Space in 2018, and The New Uroborus in 2019), besides five group exhibitions.
I imagine things now as unfolding ideas on a stage. I never - or almost never – start things from bookish descriptions. I imagine these worlds as a representation with at least three layers. Firstly, there’s the world behind the clown, behind the curtain, with those characters that close and open up a world; then there is the world on the stage itself; finally, on a third layer, we find ourselves, the ones that watch, including myself, the painter.
Full of meaning and charm are these stories in words by Stefan Caltia. They get added to the ones in images and, together, praise humanity in search of spiritual light and of harmonious existence right here, on planet Earth.
Stefan Caltia’s painting has been and is remaining faithful to a tradition of peacefully working in the silence of the workshop, and in the silent vicinity of familiar objects, almost animated by time passing and by their acquired history. The joy of touch and that of each day’s discoveries are two essential characteristics of his creative energy, out of which, in full verve, the enamelled matter of his dense and weighty painting gets born.