Ion Panduru was born in the month of April and the year of 1948 in Simian, Mehedinti, Romania

He studied painting with Ion Taralunga

 

Contact

 e-mail: ionpanduru@yahoo.com
                
Cell phone 1: +40-734-917-432         
Cell phone 2: +40-770-959-662

Personal expositions:

1991- Bucharest, Romania

1992- Agrigento, Italy

1994- Bamberg, Germany

1994- Bucharest, Romania

 

 

Work in personal collections:

Bulgaria, Poland, Germany, Italy, France,

Holland, Canada, USA, Switzerland, Mozambique.

 

Critics:
 

 

  Immortality architects
 
by Octavian D. Curpaş publication  - USA
# 18 / Aug, 1, 2006
www.conexiuni.net

 

 

            How many times it happened to us to stay powerless in front of a painting, to be simply stoned because the frames managed to grasp more life than we were capable to live? Because at once, the moments that transiently pass through us stop there on the canvas… And only then we realize that painters are immortality architects.

            This title rose into my mind only when I met Ion Panduru.

   
  Self - portrait  

 The artist’s works manage to preserve with such force the young spirit mirrored on the faces or fragments of nature, than by looking at them you feel that you are immortal. This is how he managed to grasp also the Yellow Iris in all its freshness, in spite of the fact that the plant is very sensitive to heat, withering in a couple of hours. The flower, whose beauty may compete with the orchid blooms in May, towards the end, in adjacent swampy areas near Pasarea Lake, situated close to Bucharest. He discovered it while being at the beach together with his wife, “the greatest and embittered fun of my painting”, as the painter calls her. And the master’s impetuous creative will brought nature back to life: “I didn’t manage to grasp its unreal beauty for the first time, but the second time I was like possessed, the brush was flushing and I managed to put them in the page. They live and breathe! They stay; they stay well in the page. They look wonderful!”

            The truth is that by a simple touch of brush, the artist Ion Panduru manages to grasp the human essence found in its pure form, forgetting about time or other impediments that might wrinkle its authenticity. This was the case of a portrait that he made, proving to be extremely benevolent with the character’s age. “The portrait is a special issue; you have to feel the character beyond likeness. I was painting in Germany the portrait of a lady, the truth is that I had stolen from her 15-20 years.

   
 

Sad Girl

 

The lady’s husband came and said that not even he had meet her so young. I understood exactly what the man was saying and I decently went towards a solution that would content both of them”, confesses the painter.

            Ion Panduru was born in April 1948, in Simian, County Mehedinti. His talent impetuously burst as he was only five years old, while looking at his mother weaving a carpet. Then the artist felt the inclination towards painting being fascinated by the colors that were separated and brought together in the models of the Romanian traditional textures, inclination that he initially perceived it by the wish to weave. “I was tempted to weave, but my mother didn’t allow me. Then I took a few colored pencils and I reproduced from a pencil box a drawing with two sparrows at the blackboard. The birds were pupils. Later, when my mother saw the drawing, she took pride in showing it to my father. He astonishingly raised his eyebrows, asking her once more if I made the drawing. She answered positively and my old man praised me”, says the master.

 

 « Don’t waste your time with miniatures »

 

The inclination towards plastic arts began to strongly vibrate in his soul while attending the courses of the general school in Craiova. The Art Museum, in whose yard he used to play, definitively left its mark on his artist soul. He used to spend hours contemplating the works of Romanian famous painters.

   
  Crucified Christ  

 But what activated “an inner click”, making him sensitive to painting, as the painter Panduru says, was one of the works of master Tuculescu, embodying a young bull pretending to be bad, but in fact it was full of fear, painting that is at present at the art museum of Constanta.

He graduated high-school also in Constanta, after which he attended the Polytechnic Institute, Faculty of Automatics of Bucharest, where he also settled down later on. And as expected, the polytechnic studies could not distract his attention from painting, which attracted him as thread, as the artist says. Therefore, he attended painting courses with famous artists, as for example the painters Ion Taralunga, Doru Rotaru, a refined colorist, a maker of stained glass windows, great master who adorned Cotroceni and Youth Palace and not at least, Bogdan Stihi, a painter with an amazing execution speed and obviously individual study as much as possible.

Regarding the uncomfortable moments he faced during his carrier, the painter Ion Panduru mentions: You have to see the full part of the glass! To be healthy, to have the power to work. You cannot change the world, not suddenly, there may appear fractures, discontinuities, with painful effect and nobody gets to win. There is place for everybody; time is the supreme, capricious, irrevocable arbitrator.

   
 

Gondolas at the Bank - Venice

 

The master Nicolae Tonita was tempering the barren disputes among fellows with the gentle word: “don’t waste your time anymore with miniatures”. In other words, if you can and you have something to say, say it with your artistic means, not with cudgel and insult. 

Once I gave a work to a man and after a while, going to his place, I looked for the painting and as I didn’t see it, I asked him where it was, and he started to apologize that he had no money for the frame; my heart ached and the man will not receive any painting from me, not even offering an enormous amount of money”.

His artistic pulse achieved with such meticulousness was gathered in various personal exhibitions as for example: 1991 – Bucharest; 1992 – Agrigento, Italy, 1994 – Bamberg, Germany, 1994 – Bucharest, as well as works in private collections in: Bulgaria, Poland, Germany, Italy, France, The Netherlands, Canada, USA, Switzerland, and Mozambique. His works undoubtedly prove that Ion Panduru, both the artist and the person manage to weave, as he wished for as he was a child, suspended bridges between the soul and the surrounding world.

The persons who wish to see these works of art of Ion Panduru, may do it at the address: www.ionpanduru.com. You may also express your considerations regarding these masterpieces, directly to the artist at e-mail: IonPanduru@yahoo.com or to contact him by phone at: 01140-723-55.92.39.

So, if you have time, don’t hesitate to access the site www.ionpanduru.com. You will benefit from pleasant moment of authentic peacefulness and sensitivity, which will make you forget the concerns that trouble you.

 




 

  Painting weaved with threads broken from the soul
 
by Octavian D. Curpaş publication   - USA
# 51 / Aprilie 2006 / part: America
www.gandaculdecolorado.com

 

            How many times it happened to us to stay powerless in front of a painting, to be simply stoned because the frames managed to grasp more life than we were capable to live? Because at once, the moments that transiently pass through us stop there on the canvas… And only then we realize that painters are immortality architects.

            This title rose into my mind only when I met Ion Panduru. The artist’s works manage to preserve with such force the young spirit mirrored on the faces or fragments of nature, than by looking at them you feel that you are immortal. This is how he managed to grasp also the yellow iris in all its freshness, in spite of the fact that the plant is very sensitive to heat, withering in a couple of hours. The flower, whose beauty may compete with the orchid blooms in May, towards the end, in adjacent swampy areas near Pasarea Lake, situated close to Bucharest. He discovered it while being at the beach together with his wife, “the greatest and embittered fun of my painting”, as the painter calls her. And the master’s impetuous creative will brought nature back to life: “I didn’t manage to grasp its unreal beauty for the first time, but the second time I was like possessed, the brush was flushing and I managed to put them in the page. They live and breathe! They stay; they stay well in the page. They look wonderful!”

            The truth is that by a simple touch of brush, the artist Ion Panduru manages to grasp the human essence found in its pure form, forgetting about time or other impediments that might wrinkle its authenticity. This was the case of a portrait that he made, proving to be extremely benevolent with the character’s age. “The portrait is a special issue; you have to feel the character beyond likeness. I was painting in Germany the portrait of a lady, the truth is that I had stolen from her 15-20 years. The lady’s husband came and said that not even he had meet her so young. I understood exactly what the man was saying and I decently went towards a solution that would content both of them”, confesses the painter.

            Ion Panduru was born in April 1948, in Simian, County Mehedinti. His talent impetuously burst as he was only five years old, while looking at his mother weaving a carpet. Then the artist felt the inclination towards painting being fascinated by the colors that were separated and brought together in the models of the Romanian traditional textures, inclination that he initially perceived it by the wish to weave. “I was tempted to weave, but my mother didn’t allow me. Then I took a few colored pencils and I reproduced from a pencil box a drawing with two sparrows at the blackboard. The birds were pupils. Later, when my mother saw the drawing, she took pride in showing it to my father. He astonishingly raised his eyebrows, asking her once more if I made the drawing. She answered positively and my old man praised me”, says the master.

 

« There is place for everybody; time is the supreme, capricious, irrevocable arbitrator »

 

The inclination towards plastic arts began to strongly vibrate in his soul while attending the courses of the general school in Craiova. The Art Museum, in whose yard he used to play, definitively left its mark on his artist soul. He used to spend hours contemplating the works of Romanian famous painters. But what activated “an inner click”, making him sensitive to painting, as the painter Panduru says, was one of the works of master Tuculescu, embodying a young bull pretending to be bad, but in fact it was full of fear, painting that is at present at the art museum of Constanta.

He graduated high-school also in Constanta, after which he attended the Polytechnic Institute, Faculty of Automatics of Bucharest, where he also settled down later on. And as expected, the polytechnic studies could not distract his attention from painting, which attracted him as thread, as the artist says. Therefore, he attended painting courses with famous artists, as for example the painters Ion Taralunga, Doru Rotaru, a refined colorist, a maker of stained glass windows, great master who adorned Cotroceni and Youth Palace and not at least, Bogdan Stihi, a painter with an amazing execution speed and obviously individual study as much as possible.

Regarding the uncomfortable moments he faced during his carrier, the painter Ion Panduru mentions: You have to see the full part of the glass! To be healthy, to have the power to work. You cannot change the world, not suddenly, there may appear fractures, discontinuities, with painful effect and nobody gets to win. There is place for everybody; time is the supreme, capricious, irrevocable arbitrator. In other words, I gave a work to a man and after a while, going to his place, I looked for the painting and as I didn’t see it, I asked him where it was, and he started to apologize that he had no money for the frame; my heart ached and the man will not receive any painting from me, not even offering an enormous amount of money”.

His artistic pulse achieved with such meticulousness was gathered in various personal exhibitions as for example: 1991 – Bucharest; 1992 – Agrigento, Italy, 1994 – Bamberg, Germany, 1994 – Bucharest, as well as works in private collections in: Bulgaria, Poland, Germany, Italy, France, The Netherlands, Canada, USA, Switzerland, and Mozambique. His works undoubtedly prove that Ion Panduru, both the artist and the person manage to weave, as he wished for as he was a child, suspended bridges between the soul and the surrounding world.

The persons who wish to see these works of art of Ion Panduru, may do it at the address: www.ionpanduru.com. You may also express your considerations regarding these masterpieces, directly to the artist at e-mail: IonPanduru@yahoo.com or to contact him by phone at: 01140-723-55.92.39.

 




  
         World as a miracle

            by Nicolae Baboi

 

I was signaling, at the beginning of the year 1991, the presence of a brush with a remarkable talent in Sala Ronda of the National Military Circle.

    It is a joy to find that the appreciations and anticipations turned out to be correct:

1994

Ion Panduru comes again in front of the Bucharest public with works that fully attest his boldness and gift in a field where things are far from being entirely told – traditionalist painting.

  Ion Panduru Ion Ţarălungă  Fănuş Neagu    

Meanwhile, the author made study travels in the country and abroad, he exhibited in Agrigento (Sicily).

And his paintings are today in particular collections from Bulgaria, Poland, Germany, Italy, France, The Netherlands, Mozambique and the United States. 

A look around the exhibition opened in December, also in Sala Ronda, proves that the option for the manner that imposed was favorable.

In exchange, as compared to the unleashed force of the debut, more elaborated chromatic harmonies, carefully distilled tones, stroked from time to time by a red or an intense yellow meant to dynamically accentuate in certain compositions, the author’s joy to paint.

Because, regardless of the fact that it is a corner of nature from Valea Argesului, a vase with flowers, a portrait (a Lady with white hat that might be the pride of any refined collector) or a Bucharest street, in all these works you may notice a soul passion to comprise the world and to render it according to an inner state, to a capacity to jubilate in front of each subject as in front of a miracle.

This is what Ion Panduri transmits in the first place through his art.

 




 

    Traditionalism resurrection 

     by Nicu Baboi

 

Maybe the observation does not entirely correspond to reality, but it seemed to us that lately many of the painting exhibitions that we saw in Bucharest mark a turning back to figurative.

Could it be a reaction to the chaos reigning around us, a refuge towards the form of artists disillusioned from the information assaulting us?

Ion Panduru, who is exhibiting today on the cymae in front of us, embodies, among others, a “Winter landscape in Bucharest” painted in the winter of 1990. That is in a troubled and controversial period, his sensitivity and tools leading him towards grasping a quiet place in Bucharest – it’s hard to believe that there were such places in 1990 – flooded by the white peacefulness of snow.

A certain serenity is also present in all the compositions exhibited by him.

This does not exclude a particular dynamism of subjects consisting in a vigorous stroke, in a chromatic where warm shades prevail, in a special sense of disposing the subject into the frame. He confesses having assimilated this dynamism from Ion Taralunga, with whom he studied for a period of time. A certain detachment from the real may be also noticed, showing us clearly that we are dealing with an artist with his own personality, who has something to say and says it with the most refined means.

A subject as “Ballerina behind the scenes” that is differently treated by Degas, the dominant being represented by a higher infusion of real, the characters’ gestures have naturalness; the contre-jour from which the group is watched is rather disclosing more than intensifying a mystery.

In this phase of his creation, Ion Panduru does not show a predilection towards a particular genre. He is found of static natures, vases with flowers, exuberant and calm at the same time, landscapes, portrait painting and not at least nude.

 It’s obviously a surprise the icons in which Rubliov golden color may be remarked, but more than this the expressivity of faces, which is in fact a rupture from the Byzantine tradition.

Everything we have seen makes us believe that Ion Panduru is an authentic artist, a personality who will have a lot to say even maintaining himself within the limits of this traditionalism, which fits him very well and which, as I was saying, seems to belong to the time we are going through.