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To browse Academia. In the spirit of his generation the late 19th century and the beginning of the 20th century , the painter was fascinated with traditional art, folk decorative motives, and life in the countryside in general. He used the decorations on traditional costumes as an inspiring foundation for his church wall paintings; the Strana series captures the Romanian community during the Sunday mass, a context that he used as an opportunity to create different peasant profiles.
In his paintings he wanted to preserve the Romanian spirit and to send a powerful message to his contemporaries about the importance of traditional values, and also about the necessity of educating the village community in preserving their rich inheritance. His works complete a wider cultural landscape, specific for the turn of the century. Romanian intellectuals, with different backgrounds, such as literature, history, architecture or music, tried to create a national style, based upon similar ideas.
Mihaela Proca. Silvia Marin Barutcieff. Marco Bogade. Ana Dumitran. Almost any representation of the Romanian national identity is related to the peasant and its folklore and relies on images constructed and released mainly in the second part of the nineteenth century and the beginning of the twentieth century.
This chapter intends to analyze the construction of the Romanian peasant in Transylvania during the period from to , as part of the process of national identity-building which took place in the nineteenth century. Relying on different types of sources, such as ethnographic writings, literature, historical works and newspapers, my research is grounded in an interdisciplinary approach which includes cultural studies and cultural history.
