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The Ethnic Pluralism of the Nineteenth Century in Transylvania according to the Ecclesiastical Painting of the Grecu Brothers

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Boicu D.

Review of Ecumenical Studies Sibiu

2016

vol. 8

issue 1

56-75

Despite the development of the iconographic programs, the frescoes painted by the Grecu brothers remind us not only of the large ensembles beyond the Carpathians in Walachia and Moldova but also other Transylvanian decorations. These frescoes express not only the spirit of the time or the mentality of the community to which they belonged, but they also represented an opportunity to show the painters’ originality and personality, their need for personal affirmation and artistic individuality, connected to a new sensitivity of a given historical context. The representation of the inhabiting nations in Transylvania in the Passion’s Cycle highlights the disadvantaged status of the Romanian people who were oppressed by the privileged nations: by the Habsburg military force, the inequitable judgement of Saxons and the torments inflicted by Hungarians through their policies. All of these recreate mutatis mutandis the dramatic setting in which Christ was crucified.

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1 Review of Ecumenical Studies Sibiu

1 Boicu D.

1 2016

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The Ethnic Pluralism of the Nineteenth Century in Transylvania according to the Ecclesiastical Painting of the Grecu Brothers