Sector 1

What draws attention in these two artistic approaches is a subtle, inherent complementarity that runs through the subjects, the ideational space and the formal aspects of the works. The nature of this subtlety bears the mark of a distant history. It can be traced back to the formative period of the two artists, more precisely to the connections and practices of a delayed avant-garde, specific to M. H. Maxy’s pedagogy at the School of Art for Jews, founded in 1941 in Bucharest The nature of this subtlety is closely related to the anachronism marked by the fidelity and consistency of a stylistic trajectory derived from the early years of this formation. With fluctuations in both practices—more prominent in Yvonne Hasan’s case due to the intersection between art, theory, and philosophy— the specificity of a soft modernism dominates the two creative strategies. Here, freedom and devotion to color, geometry, pictoriality, and subject remain intact as a mode of thinking, unaltered by the multitude of new artistic directions of the last seven decades.