Background
Marin Gherasim was born on December 16, 1937 in Radauti, Suceava, Romania, into a peasant-rooted Bucovine family of Olga and Oreste Gherasim.
Marin Gherasim was born on December 16, 1937 in Radauti, Suceava, Romania, into a peasant-rooted Bucovine family of Olga and Oreste Gherasim.
Marin began his studies in his hometown, at Eudoxiu Hurmuzachi High School, and then, as an audience, he attended the courses of the Art High School in Iasi, having professors Mihai Camaru and Nicolae Popa. Between 1956 and 1962, he completed his artistic vocation at the Nicolae Grigorescu Institute of Fine Arts, where he had the mentor Octavian Angheluta.
Between 1963 and 1981, Marin Gherasim worked as a university assistant at the Pedagogical Institute next to the University of Bucharest, and from 1962 he debuted at the Bucharest Exhibition. In 1966 he became a member of the Union of Fine Artists and, later, since 1983, a researcher at the Institute of Art History of the Romanian Academy in Bucharest. His creative work blended in harmoniously with the one in which the artist leaned on the scriptures. Essays, churches, prefects, art studies, and conferences and the opening of exhibitions of the guild colleagues, as well as the involvement in the Youth Cenacle of the Union of Fine Artists in Bucharest, made his intellectual and artistic profile. In 1990 he was appointed professor at the Bucharest Academy of Arts, where he remained until the end of his teaching activity.
A multitude of exhibitions characterized the creation of Master Marin Gherasim, who, over time, was not only admired but also crowned with distinctions and awards. The creator has been remarked since the years of his artistic debut by a number of critics, art historians, who praised the different stages and cycles of his art, such as Petru Comarnescu, Dan Grigorescu, Eugen Schileru, Vasile Dragut, Ioan Alexandru, Nicolae Steinhardt, Coriolan Babeţi, Vasile Florea and others. The artist has gone through different periods in his becoming and creating, being linked to a certain inner, well-defined, profound inner-teller structure that impressed his meaning and style, but especially his artistic creed.
After crossing a period with surrealist tendencies, the artist found himself in a speech with slightly expressionist connotations. There were, in turn, the "Proteic cycles" in 1969 - 1970, "Urban" in 1971 - 1973, "The Road" in 1973 - 1988. Even during those great plastic stays, the artist resumed and reconfigured certain cycles, such as "Shield and Fountains" in 1984 and 1985. The cycle of "Books" in 1985 announced new horizons in the synthesis of homogeneous plastic language, bearing the seal of modernity. His work was strengthened, structuring more and more in a vision close to other great moments in the history of art, such as constructivism, translated into a language understood in the form of constructiveness, solidity. Resonating with the evolution of universal art, but also with the collective path of his colleagues, he founded in 1981 the 9+1 Group with whom he exhibited until 1990. After that, he devoted himself to art until his death on March 27, 2017.
The Book
unknown title
Rebuilding the Tower
The Apse
The Angular Stone
Scut
Rebuilding The Apse
The Memory of the Blue Apse
The Envelope
Rebuilding The Apse
The Memory of the Apse
Rebuilding the Tower
Martirikon
Testament
The Memory of the Apse
Rebuilding The Apse
unknown title
The Memory of the Golden Apse
Polyptic
Cantacuzinean Insignia
Quotations:
"It is necessary to feel in the works a movement of the soul, a throbbing. It takes to reach the expression of the interior."
"I paint so she does not look. One of my permanent themes is memory, remembrance. We know there's very little in history. There is an entropy in the history of the world, of man, a loss of important things. And my theme, The Memory of the Abscess, is about that. I said, in the years when our churches were demolished, I rebuild them symbolically in my paintings. I started painting apses in 1973-1974. And since then I've improved them and changed them all together. They are the red thread of my painting. Around them, all my other themes are linked together. Between them, perhaps the dearest one, it is the Pomelnic's theme. My father, being a priest, always brought home those tickets he received at the altar door for remembrance. And my father never destroyed them. Keep them as sacred things, entrusted to him. I was seeing them. And there were old names there, people who were not. Since then, I have the certainty that when I write the name of a person who has existed, I invite her. But I also paint some signs of defense, such as Shield and Coif. They're almost magical. Every time, in my exhibitions, I put them next to the paintings. Abside in the middle, to the left of the Throne and to the right a Shield. I permanently defended my paintings with a sign."
Since 1966 Marin was the member of the Union of Fine Arts.
Marin was married to the painter Amelia Diamandescu - Gherasim, with whom he had a daughter Alina Gherasim.
