Home___Resume___Links___ Contact___Guest book



Le sculpteur Marian SAVA figure dans des ouvrages d'art international :

Dizionario Enciclopedico Internazionale d'Arte Contemporaneo
Casa Editrice Alba - Italia 2012
Dictionnaire Drouot Cotation Artistes 2008 / Chr. Sorriano / Larousse
Dictionnaire Drouot Cotation Artistes 2007 / Chr. Sorriano / Larousse / pag 221/328
Dictionnaire des Artistes Plasticiens de Belgique des 19ème et 20ème siècles
Paul Piron/ Nicolas Poncelet / 2006 /pag 649/650
Dizionario Enciclopedico Internazionale d'Arte Contemporaneo
Casa Editrice Alba - Italia 2002
L'encyclopédie des artistes roumains contemporains
4è volume - édition ARC 2000, Bucarest, Roumanie
Artistes et Galeries -4e Edition Bruxelles 2000
Christophe et Nicolas Poncelet Editions Art in Belgium
Dizionario Enciclopedico Internazionale d'Arte Contemporaneo
Casa Editrice Alba - Ferrara -Italia 2000
De belgische Beeldende Kunstenart uit de 19de en 20ste Eeuwen
Paul Piron Editions Art in Belgium 2000

... et aussi dans des publications :

Le journal România libera de 16.02.2001
La revue Convorbiri literare numero 8 de 1998
Le journal Ouest France numero 1635 de 1998
Le jounal Al-Ahram International numero 40224 de 1997
La revue Tribuna numero 38 de 1996 et numero 5 de 1997
La revue Brancusi numero 4 de 1996
La revue Unu numéros 10 si 12 de 1996

Lionel Scanteye
Writer and art critic
Writers  Society of France
International Society of Art Critics
World Organization Of Periodical Press
American-Romanian Academy of Arts and Science


In the ceaseless quest for the universal, for what is permanent and essential, the truths that hide in the cores of things,
the art of Marian Sava is an art of intellectual concentration, of concept, of almost mathematical precision and sobriety.

His goal is to capture and retain an instant, to represent an idea, a movement, a momentum, or a state of mind,
to being able to show the imponderable.

The process of purification of the form through gradual elimination of unnecessary details which is absolutely necessary to obtain such conciseness,
and the construction of the future sculpture are entirely coming from the artist’s mind. It evolves in his head to the smallest details.

The model of the envisioned piece is only a faithful transcription work, which no longer allows any further changes or alterations.

This process of  inventing and of realizing a piece of sculpture in its entirety inside his own mind is personal and rather little used.
Maybe this is because it requires too much of a concentration effort, a force of uncommon mental contention.

His sculpture hides no mysteries, absurd or undecipherable languages. However it remains secret and it is discovered only after a second look.
And if it is composed of small touches of successive abstractions, it does not fit into what is commonly called the abstract style.
It is not abstract or decorative, or dry. Quite the contrary, it has a soul, a spirit, it lives, it communicates, is imposes itself and it fascinates.
x   x
A Belgian national, living in Brussels, Marian Sava is of Romanian origins, just as the fabulous  Brancusi, the pioneer and founder of modern sculpture.
Without doubt, it is not a coincidence nor an accident the fact that there is a spiritual filiation between the two sculptors.
Like his predecessor, Marian Sava draws also the sap of his creation from the same sources: the Romanian locale with its valleys and green mountains, with fertile meadows and crystal clear rivers; its rich traditions and customs; its colorful folklore, wisdom and good sense of the Romanian peasant;
its melodious songs and unique in their genre called “doina”, where nostalgia and joy, memories and hope tremble in unison.

Nevertheless, the Brancusi spirit is very discreet. It just passes over the work of Marian Sava as a light breath,  like a breeze,
the touch of wise caress, of fatherly encouragement, but without  removing his personality or originality, nor the novelty of his aesthetic values.

Dead more than forty years ago, Brancusi left an accomplished work, containing everything that he wanted to say. At 47,
Marian Sava has said only part of what he has in his heart, his art is in full creative flight, his work in full swing,
his imagination still young and flamboyant. He has before him a long time to think and discover what he has achieve.

If Constantin Brancusi marked with a large stone the birth of modern Sculpture and demarcated with a powerful feature
the separation from the one before him, if his work belongs to “history” (Ionel Jianau), then Marian Sava,
who is hardly in the middle of his career, already shows us promising work leading to a prestigious future. And also to a precursor destiny.

Paris, France
February 1998

Lionel Scanteye