Published 2005
“…<p>The thesis
aims to prove, on the one hand that the second half of the nineteenth century was the period of maximum deviation from the traditional Romanian style of icon-painting and, on the other hand, that the process following the Romanian Orthodox Church's Synod of 1889, in spite of the proclaimed return to a pure
Byzantine style, actually has involved the coexistence of at least two main styles of painting: Eastern Mannerist of
Byzantine lineage and Western Mannerist of <em>Renaissance</em> persuasion. …”
Thesis