Richard Knight

Former Christie’s Co Chairman of Old Masters and 19th Century Ar

„Bogdan Mihai Radu, a Romanian artist whose works spoke volumes at the entrance to the show. On an immense scale that’s immersive, Bogdan’s abstracted expressionism is bold and striking, dense with mood and emotion telling a story of his life, a traumatic episode and a challenging psychological state with which Bogdan worked through in these paintings”

Rodica Popescu Bitănescu

Actress, Playwright, Stage director

I watch his flowers and feel great joy. He gives me hope that tomorrow is a another day in which we can solve things.

Rodica Bobes


The thoughts of a teacher "Have you ever imagined how a techear’s soul looks? My soul is like a calendar of memories, with years and generations. I'm looking over the 1979 generation and looking at the boy with big blue eyes and eyelids slightly falling to dreams. Lonely, perhaps to quiet, accompanied by his mother, Boby sets in the bank with the desire to overcome the phrase "Ana has apples" to break out of his world of quietness and color and start "The cases of the noun ...", "diathes. .. "," syntactic functions ... "," literary commentaries ..." but his thoughts turn into color ... and red, and purple, and green, and lights and shadows ... His thoughts transforms into the joy of playing in colors, and on the pages of his notebooks appear figures, thoughts of life, a tree, a flower, and the metaphor becomes a field with flecks watered by the wind, and the epithese becomes the path that leads somewhere inside Eminescu’s forest somehow comparing ... It's time for class!!! Now I realize how tumultuous our times were when you, in fact, strolled through stars painted with leaves, when you wondered through the pictures of lost cities. How did it take so much time to discover you? How did you feel, Boby, when you could not play in the color of the breeze of the wind, the perfume of the flowers, the powder of the sun, the rustle of the grass ...? Words have no meaning here. It would disturb the peace. I withdraw and return to the memorial house by placing a "book" sign on the name of BOGDAN MIHAI RADU. With great admiration, Prof. Rodica Bobes

Raluca Băloiu


Bogdan Mihai Radu is paying a tribute to Queen Mary, 150 years as of the funding of the Romanian Royal House. Generically named, the Queen’s Heartthe exhibition brings forward the Queen’s favourite flowers, developed in skilfully drawn compositions, directly into colour.
The artist boldly approaches the painting of iris, lily or rose bouquets / bunches / surfaces from the royal gardens in Balcic and Cotroceni. Being a keen observer, Bogdan Mihai Radu also depicts the column, fountains and flower pot galleries in Queen Mary’s props.
Symbol of purity and delicacy, surrounded by fairy-tale sceneries in the pre-Raphaelite representations and later borrowed by the Art Nouveau movement, lilies are treated as icons by Bogdan Mihai Radu and developed through an exclusive return to colour. The Queen’s preference for lilies, represented as such or as decorative elements in her book illustrations intended for her poetry volumes, was well-known.
The royal gardens and palace in Balcic (which combines the exotic architecture of the minaret with the country side) are immortalised by Bogdan in various hypostasis. The artist perseveres in exercising the memory of form, opting for various coloured versions of the palace: he chooses wither solar colours, or coloured shades of grey. We note Bogdan’s actual appetite for rendering coloured shadows, which brings him closer to the impressionists’ expression. The colour conglomerates divide the perspective form, and the abstract pectoral stains become background.
Surrounded by the floral repertory, the Queen’s silhouette is always covered in mystery, melancholia and fairy-tale, just like the pre-Raphaelite paintings. Dressed in white or in traditional Romanian costume, the painter catches the melancholic, poetic, solar side of the Queen. Her features are not rendered, great layouts draw the face covered in mystery, colour, shadow and light patches.
By this exhibition, Bogdan Mihai Radu proves a real pictorial refinement.

Irina Cajal

Doctor in the history of art and art critic

“Bogdan Mihai Radu is the artist, who, I believe, tacitly fights form, colour, notes and textures. The style which, according to a famous quote, is the man himself – means the embodiment, within one single frame, of its creator’s universe.
The town, the sky, as well as the flower field, inspired to Bogdan, as well as us all, the miracle state that converts the ordinary, the anodyne and the terrestrial into heavenly forms. It is his benefit of being capable of turning this miracle into in a way which, I beg your forgiveness, cannot explain – the painting of Bogdan Mihai Radu reminds me, both mentally and sensitively, of the paintings of the classic Corneliu Baba, as well as of the ones signed by Mircea Ciobanu or Margareta Sterian.
The artist initially took the harsh path of the self-taught, but, as a famous musician used to say, you can become a self-taught by chance or, on the contrary, by an organized will. I am convinced that our artist belongs to this privileged, latter caste. Bogdan Mihai Radu started off all alone on the tough road of self-knowledge, of getting to know everything and everyone surrounding him. I deeply wish for him to have the power to persevere and have the chance, which would turn into our chance as well, to take his Work towards the achievements that could fully honour him. ”

PhD Dorel Găină

Art and Design University Cluj-Napoca

The painting of Bogdan Mihai Radu is skilfully constructed and already mature, but most of all, it emerges from love, a really passionate kind of love to begin with. To these affections of the spirit and of the artist’s dedication, the painting responds with an impulsive elegant partnership, such as an excellent and desired dance partner. She, the painting, lets herself be driven as far as it needs to be able to offer its fascinating and voluptuously bright, direct and friendly colours to the eyes and soul of the artist, of his guests who allow themselves or are allowed to be in front of the works.

Liviana Dan

art critic, Brukenthal National Museum, Sibiu

For Bogdan Mihai Radu the town, the sky and the flower field are significant things. The town, the sky and the flower field have always provided him with the emotional substance, intimacy with the exterior, real and unreal stories. When interested in a subject, Bogdan Mihai Radu works in series. The personal touch produces a tactile work. The information on a drawing, a picture or a flower field becomes information on the colour and light position. The colour and the light are permanently changing with the artist’s mood. Tenaciously, the artist uses very common subjects, however, his predilection to the town, sky and flower fields bring a bohemian immateriality in his painting. Bogdan Mihai Radu is one of the artists who painted at Barbizon or Balcic and resized the visual impact based on the state of such places. The artist’s mood and the state of such places as Barbizon or Balcic entitle us to believe that each of us needs at least one flower field.

Anca Mihuleţ

Art historian

“The contemporary society forces us to become what we see. We are used to limiting and compressing our vision, to giving up dreams and hopes. However, each one has his/her own strategy. Bogdan Mihai Radu discovered that, when imagination meets nature, sky, trees, flowers, grass and earth, they become sublime and sufficient. Bogdan Mihai Radu sees landscapes as a new conformity, sometimes numbing, sometimes suffocating, sometimes pure and simply necessary. The artist aggressively possesses the colour which he prefers to forms, by correcting moods, amplifying feelings and desires. Bogdan Mihai Radu is the evidence that landscape and common-sense are in style.”

Liviu Tudor Samuilă

art critic

A new Luchian, an assumed continuator of Luchian and of Margareta Sterian. A quite postimpressionist with impulsive expressionist bursts. Paintings are borne from the joy of living following extensive pains.

Marius Tiţa

Art critic

Master of colours, Bogdan Mihai Radu transcends from the amazingly revealed form to feeling and vibration. There is a lot of seeking and energy in his creation, in moods transmitted to the spectators of the exhibition. It is well known that magic happens on the picture rails, in an exhibition hall, where paintings appear in other lights, in pretty clothes. A special soul communion takes place and the perception is unique. We thank the painter Bogdan Mihai Radu for inviting us in the inner forum of his painting, into his home, to his exhibition.

Dan Mihăescu

writer and TV producer

Irises In front of the irises created by him, ones remains a bit disconcerted. The yellow flowers, which in many works delicately accompany the purple ones, here vibrate towards orange, the dark green bursts out loud, a triumph of young chlorophyll, greedily occupying the space, somehow in an aggressive manner. The tall spades come forward, menacingly to you without any resemblance to the idyllic fleur-de-lis, popularly named “girls’ braids”. Perhaps, the artist sometimes has a conflictual temperament, carefully avoiding a mushy romanticism. His style is unique, and by watching his irises, you’re under the impression that they come towards you, invading your space, forcing you to stay or to cover your eyes.” Poppies “In front of Bogdan’s poppy paintings, observe the colour of the sky. Clouds are moving, so are the colours of the sky, storms are anticipated at the edge of an endlessly clear sky. With-bluish distaffs anticipate the reddish vapours emanated by the poppies of a dried blood red. They are a bit, only a bit, tired from the swinging of the wind, reminding us of what they are also called by the people „somnişor.” (sleepy flowers) It is clear that this young and talented painter sees beauty as more beautiful, more plenary that we see it.

Corneliu Brudaşcu


I know Bogdan since his Cluj period and has always given me the feeling that his relation with the canvas is a special one, a steady relationship though the irreplaceable binder which is talent. If I could describe in a few words the essence of his works, I would say that his chromatic impetuosity is pouring down on form and imperceptibly subjugate it. What I wish Bogdan is not to derail from the luminous path of affirmation through talent and to continue to be driven by the force of the colour its works reveal each and every moment to the eyes of the viewer with an exuberant frankness.

Răzvan Tănase

For Bogdan Mihai Radu painting is intrinsic to his existence, dotted by challenges that sometimes might have seemed overwhelming. In spite of these impediments, his artistic career followed its path, enriched by special encounters that mark the destiny of any artist. The painters Corneliu Brudaşcu and Augustin Costinescu, the art critics Dorel Găină, Liviana Dan and Irina Cajal, the sculptor Mircea Ignat are only a few names that irreversibly marked his artistic road. Sibiu has for Bogdan a very special emotional charge, since it is the first benchmark in this artistic path. His first exhibition took place here, at Casa Franceză, and the same town on Cibin registers his first media appearance – „Alone on the painting highway.” The sculptor Mircea Ignat, back then, president of Sibiu Subsidiary of the Plastic Artists Union, supported Bogdan during the first moments of artistic his debut. In recognition of his talent and of the credit granted to his potential creator became the member of the Sibiu artists’ brotherhood. Being at the same time an artist and a coffee shop manager, Bogdan initiated the painting workshops at Cafe del Sol, open to artists from all over the country. For the Cluj stage of his artistic expression, Master Corneliu Brudaşcu was to Bogdan a real mentor, leaving an indelible mark on the on his artistic discourse. As for an impressionist like Claude Monet, over more than a century ago, colour would be a daily obsession, a source of joy and of torment at the same time, Bogdan Mihai Radu organically relates to colour, a main vector of his artistic throughput. The diffusion of forms in his works is compensated by the impetuous force of his chromatic registry, which transposes on his own sensitiveness canvas and brutally exposes it to the eyes of the spectator.