Who painted Învierea lui Iisus, cu 12 scene de praznic?

Învierea lui Iisus, cu 12 scene de praznic was painted by Simion Poienaru in 1834.

Where can I see Învierea lui Iisus, cu 12 scene de praznic?

Învierea lui Iisus, cu 12 scene de praznic is held by Alba Iulia Orthodox Archdiocese.

What movement is Învierea lui Iisus, cu 12 scene de praznic?

Învierea lui Iisus, cu 12 scene de praznic is associated with Romanticism.

Artwork

Învierea lui Iisus, cu 12 scene de praznic

Simion Poienaru , 1834

Învierea lui Iisus, cu 12 scene de praznic is a drawing by the Romanticist artist Simion Poienaru. It dates from 1834 and is held in the collection of the Alba Iulia Orthodox Archdiocese.

About this work

Overview

„Învierea lui Iisus, cu 12 scene de praznic” is a 1834 drawing by Romanian artist Simion Poienaru, presently conserved in the Museum of Ethnography. The composition is organized around a central, robed figure with a raised arm, set against a red‑toned background, and surrounded by twelve smaller vignette‑like panels that depict various figures in prayer or standing.

Subject & Meaning

The central figure represents the resurrected Christ, a motif traditionally linked to Easter celebrations. The surrounding twelve scenes likely illustrate episodes from the Paschal narrative or related liturgical moments, each figure rendered with a halo to emphasize sanctity. The work functions as a visual liturgy, guiding the viewer through the theological significance of the resurrection.

Technique & Style

Poienaru employed a linear drawing technique, using bold black outlines to define flat, stylized figures. The palette is limited to muted blues, reds, and golds, suggesting an aged surface that has faded with exposure. The composition relies on cross‑hatching and dense line work to suggest volume, while the overall effect remains graphic rather than painterly.

History & Provenance

Created in 1834, the drawing entered the collection of the Museum of Ethnography, where it has been displayed as part of the institution’s holdings of religious folk art. The work’s provenance prior to museum acquisition is not documented, but its preservation reflects typical 19th‑century Romanian ecclesiastical art practices.

Context

The piece belongs to a period when Romanian artists often combined Orthodox iconography with folk‑art conventions, producing works for both liturgical and didactic purposes. Poienaru’s drawing aligns with contemporary efforts to visually narrate biblical events for a largely illiterate audience, using clear, repetitive motifs to reinforce religious teachings.