Nicolae CHIRILOVICI, Fruit Picking

Considering the impact of the artists from Baia Mare on Nicolae Chirilovici's formation [1] we can say that the painter from Arad is the product of the artistic “climate” of Baia Mare rather than of the “school”. His case is interesting because of this. He managed an admirable personal synthesis, as an expression of a Transylvanian artistic “modernity”. His use of color derives from poetic fova. The arbitrary choice of colors is the most visible proof, but not the only one, of the absolute freedom of interpretation offered by fovism. In Chirilovici's landscapes we discover trees with blue trunks, intense red gates or fences, roofs of purple houses and "thrown" shadows painted in a dense ultramarine blue. The shapes are cut clearly and sharply. The line (also drawn in an arbitrary color, usually red or ultramarine) closes them, in the manner of a strange "cloissoné". The rhythms of the contour lines cause the vibration of the pictorial ensemble.
”In their localities, the colors are exalted in pure and bright tones, without touching violence. Aiming to reproduce the colorful spectacle of nature, Chirilovici gives up the illusion of volumes and is not interested in the materiality or weight of things. In this two-dimensional vision, objects are treated as colored surfaces, and those in the depths of space are painted as if seen in the foreground. According to Cézanne's lesson, the impression of the succession of things in space is created only by the juxtaposition and opposition of hot and cold colored areas. Stolen from the natural demands and effects of light, color has become a constructive element and at the same time, an expressive means ”. (Horia Medeleanu, in Arad Art 2007: 50 years of artistic activity, page 33, ed .: Ioan Matiuț, Mirador Publishing House, Arad, 2008).