Aurel Cojan ( March 3, 1914, Beceni, Buzau, d. December 2005, Paris, France) was a painter and decorator Romanian artist. During 1932-1934, he attended the Bucharest Academy of Fine Arts, Painting Department, having as teachers and Camil Ressu Şirato Francis. In 1969 he obtained political asylum in Paris.
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Éric Suchère, “L’effroyable jeunesse d’Aurel Cojan”, in Beaux-Arts Magazine 1995: “From rough to smooth, from slaps to caresses, all imaginable textures, all the different ways of impressing color on a surface are used. Colors that struggle amongst themselves, against the canvas, that rub together and clash against each other to the point of dizziness. This blowing apart of the internal structure of a painting could be compared with the idea of the “current of consciousness” in Joyce’s texts, where it is a question of bringing together, in one same character, a whole group of auditive, olfactive and visual sensations and showing how they disturb the thought process. With Aurel Cojan, the receptor is the canvas, the sensations are transmitted through color. If his painting seems discreet, it is however of an extreme violence, comparable not to murmur but to a thousand screams rending forth at the same time”.
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“Aurel Cojan sort de l’ombre”, L’Oeil no. 499, September 1998: “If Cojan’s paintings sometimes take on an abstract appearance, reality is always there, beneath the surface, and the artist only cultivates haziness with a poetic intention, delivering up a world that is physical, if impalpable”.
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Éric Suchère, “L’effroyable jeunesse d’Aurel Cojan”, in Beaux-Arts Magazine 1995: “From rough to smooth, from slaps to caresses, all imaginable textures, all the different ways of impressing color on a surface are used. Colors that struggle amongst themselves, against the canvas, that rub together and clash against each other to the point of dizziness. This blowing apart of the internal structure of a painting could be compared with the idea of the “current of consciousness” in Joyce’s texts, where it is a question of bringing together, in one same character, a whole group of auditive, olfactive and visual sensations and showing how they disturb the thought process. With Aurel Cojan, the receptor is the canvas, the sensations are transmitted through color. If his painting seems discreet, it is however of an extreme violence, comparable not to murmur but to a thousand screams rending forth at the same time”.
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“Aurel Cojan sort de l’ombre”, L’Oeil no. 499, September 1998: “If Cojan’s paintings sometimes take on an abstract appearance, reality is always there, beneath the surface, and the artist only cultivates haziness with a poetic intention, delivering up a world that is physical, if impalpable”.
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