- GALLERY 0
- GALLERY 1
- Figures in a Garden
- Stars and Figures
- Perseids
- Mono-Eyeglass
- Ordinary Objects in Unusual Illumination
- Autonomous
- Labyrinth of Desire
- The Temptation of St. Anthony
- Hermogon
- Stroll in the Garden
- Egypt
- Bread Field
- Equinox
- Grass Heart
- Wealth of the Poor
- Tuesday
- Magical Shadows
- Map
- Field
- Archetypes
- Gladiator Arena
- Wedding of the Morning
- Castle of Twilight
- Four
- Poet and Bird
- Africa
- Earthly and Heavenly Garden
- Flowers of Little Ida
- Flowers of Laura
- Wedding of Dawn
- GALLERY 2
- Typology I
- Typology II
- Typology III
- Typology IV
- Slow Light I
- Slow Light II
- Slow Light III
- Slow Light IV
- Slow Light V
- Slow Light VI
- Different Light
- Heavy Light I
- Heavy Light II
- Old Light
- Untitled I
- Untitled II
- Untitled III
- Two Signs
- Signs
- Foundations
- Day Stars I
- Day Stars II
- Colored Circles in a Square Field
- BUCOLICS
- GEORGICS
- SQUARE AND CIRCLE
- Lolita
- Full Moon and New Moon
- Egyptian Star
- Oneness
- Sign
- Samson
- Garden with Figures
- Rest of Values
- Rain on Butterflies
- Moirai
- Gaia
- Uran
- Mother with Child and Two Stars
- Lunar Sign
- Labyrinth with Three Signs
- Signs of the Morning
- Lesbos
- Source of the Morning
- Dancing Princesses
- Ariadne’s Thread
- Garden with Six Holes
- White Magma
- Collage
- Family
- DREAMS IN BOXES
- METAMORPHOSIS
- EXISTENCE AMID EXISTINGNESS
- Joy and Beginning
- Anthropofauna
- Arena I
- Arena II
- Passion of Rest
- Heathen Celebration
- Angels with Variable Essence
- Sunny Garden
- Wedding of Dawn
- Theater of Conversations
- Wealth of the Poor
- Alabaster Light
- Wedding Procession in the Evening
- Longing Geometry
- Love Stroll of Youths
- Eden
- Prophets in the Gardens of Love
- Sand Princess
- Southern Signs
- Lucia’s Garden
- Venetian Moon
- Images of Names
- Creation
- SCARLET’ PATH
GEORGICS
The series of paintings “Georgics” is dedicated to the vernal celebration of the land and the blissful, ennobling labor of man, devoted to the joy and the weight of agricultural activity. This is my artistic project, an expression of reverence for the genius of the great Virgil and his second masterpiece – the poem “Georgics.”
The intentional absence of titles for each painting suggests my disengagement from specific parts of the poem’s plot. Distant from literal representation, I leave ample space for the viewer to complement the proposed visions with their own inventions regarding the text-prototype and the images-consequence. It would not be amiss if the “imagery” in the paintings is associated with traces of human labor on the earth, as well as with the signs left by the play of a beautiful and loving life upon the fertility of the human imagination.
Rumen Chitov