Victor ManBorn in Cluj-Napoca, Romania, in 1974.He lives and works in Berlin, Germany, and Cluj-Napoca.Only gradually does the eye find its bearings as the contours of the images emerge from the black, gray, and green tones of Victor Man’s intimate, small-format paintings. This gradual process of recognition transforms these images into a threshold, a place of transition into another, inner reality. The space that opens up under the cover of darkness within Man’s works leads viewers into a mysterious world that merges the mundane and the fantastical, mythology and fetish, individual experience and art-historical references, male and female, man and beast. This magical cosmos includes portraits and still lifes as well as beautiful, occult-like, and even erotic subjects. The paintings, attracting and drawing the viewer into their worlds, however, never provide explanations. Instead in their play of suggestions and references, the possibility is ever present to reverse their meaning in the eye of the viewer. In that sense a seemingly harmless still life depicting a bunch of slender, moderate branches in a vase, as in his Virgács (St. Nicolas) (2011), transforms into an object of fear after decoding the reference in the title to Saint Nicholas and his counterpart Krampus, who punishes those who have been bad. When Man draws from literary sources and art he usually favors sources that deal with the thresholds of human existence. The human body—transformed, constrained, tortured, amputated—is often at the center of his timeless and mysterious paintings. A recurring motif is that of decapitation: a seated figure, cut off at the neck by the painting’s format, holds a disembodied head in its lap. Whether the figure is female or male remains unclear. This motif evokes images of Judith and Holofernes or Salome and John the Baptist. The gender ambiguity of the main figure reveals Man’s interest in the Surrealists and their experiments with gender-bending imagery. Some of Man’s

Victor Joseph DeManet bol belgický sochár. Narodil sa 3. februára 1895 v Bruseli, Belgicku a zomrel 7. februára 1964 v rovnakom meste. Jeho dielo bolo súčasťou umeleckých súťaží na Olympijských hrách v roku 1924, Olympijských hrách v roku 1932 a Olympijských hrách v roku 1936.

Brusel

Belgicko

1895

1964

Victor ManBorn in Cluj-Napoca, Romania, in 1974.He lives and works in Berlin, Germany, and Cluj-Napoca.Only gradually does the eye find its bearings as the contours of the images emerge from the black, gray, and green tones of Victor Man’s intimate, small-format paintings. This gradual process of recognition transforms these images into a threshold, a place of transition into another, inner reality. The space that opens up under the cover of darkness within Man’s works leads viewers into a mysterious world that merges the mundane and the fantastical, mythology and fetish, individual experience and art-historical references, male and female, man and beast. This magical cosmos includes portraits and still lifes as well as beautiful, occult-like, and even erotic subjects. The paintings, attracting and drawing the viewer into their worlds, however, never provide explanations. Instead in their play of suggestions and references, the possibility is ever present to reverse their meaning in the eye of the viewer. In that sense a seemingly harmless still life depicting a bunch of slender, moderate branches in a vase, as in his Virgács (St. Nicolas) (2011), transforms into an object of fear after decoding the reference in the title to Saint Nicholas and his counterpart Krampus, who punishes those who have been bad. When Man draws from literary sources and art he usually favors sources that deal with the thresholds of human existence. The human body—transformed, constrained, tortured, amputated—is often at the center of his timeless and mysterious paintings. A recurring motif is that of decapitation: a seated figure, cut off at the neck by the painting’s format, holds a disembodied head in its lap. Whether the figure is female or male remains unclear. This motif evokes images of Judith and Holofernes or Salome and John the Baptist. The gender ambiguity of the main figure reveals Man’s interest in the Surrealists and their experiments with gender-bending imagery. Some of Man’s

• Victor Joseph DeManet: Belgický sochár narozený 3. februára 1895 v Bruseli, zomrel 7. februára 1964 v rovnakom meste.
• Olympijské hry: Jeho dielo bolo súčasťou umeleckých súťaží na Olympijských hrách v roku 1924, Olympijských hrách v roku 1932 a Olympijských hrách v roku 1936.
• Styl: Jeho tvorba sa vyznačuje použitím tmavých farieb – čiernych, šedých a zelených – čo vytvára atmosféru mystéria a napätia.
• Symbolizmus: Často používa motívy rozťiahnutého tela, amputácie a hlavy držanej v náručí – odkazy na biblické príbehy Judity a Holofernesa alebo Salomé a Jána Krčných.

Fotografia obrazu zobrazuje vertikálne vyrezávaný obrázok Victora Manovejho diela „Untitled (after Giorgione)“ (dalla serie Luminary Petals on a Wet, Black Bough). Je to tmavé umelecké dielo obsahujúce hlavnú figúru zahalenú do čierneho tkaniva s výraznými výstupkami pozadu. Kompozícia dominuje tienou a obmedzeným počtom farieb – prevažne čierna, sivá a jemná zelená. Čiary definujú tvar postavy a podrobnosti rastlín podobných výstupkov. Tvary sú vo veľkej miere abstraktné a geometrické, čo prispieva surrealistickému a znepokojivému atmosfére. Tekutina je hladká, ale implikuje hrubosť v prvkoch rastliny. osvetlenie je dramatické a smerované, ktoré zdôrazňuje silu kontrasta medzi svetlom a tienou. Perspektíva je trochu plochá, ktorá sa zameriava hlavne na hlavnú subjektívnu záležitosť namiesto pokusu o realistický hĺbku. Celková emocionálna pôsobnosť je jednou z najväčších – mystéria, úzkosti a náznak strachu – čo čitateľa vtáča do tmavého a zamyslenej oblasti.

Výrazné použitie abstraktných tvarov a geometrických liniek vytvára pocit surrealizmu. Výsledkom je obraz, ktorý vyvoláva otázky o ľudskej existencii a skúsenosti. Čierne farby sú často používané na vytvorenie znepokojujúcej atmosféry.

Výtvarný jazyk Victora Manovejho diela odkazuje k umeleckým smerom Surrealizmu, kde boli experimentované s obrazmi rozťiahnutého tela a hlavy držanej v náručí. Tento aspekt jeho tvorby je výrazný v dielach Virgács (St. Nicolas) (2011), ktoré sú oslavou krásnych obrazov.