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The present article aims to decode the artistic creation process, culminating in the artistic image, starting from the hypothesis that it has a ritual dimension. The argumentation of this idea takes into consideration the ceremonial aspect of the ritual, borrowing the term from the religious sphere, but it aims to expand it into the artistic realm by considering its repetitive component, which we assume is characteristic of any act of creation. The article also discusses aspects of imitation, appropriation and postmodern citation of the former works of art, in an attempt to discover the essence of the creative process and the identity of the artistic image. [ABSTRACT FROM AUTHOR]

The present article describes the context for the appearance of the Dada movement in Zürich in 1916, presenting the characteristics of the avant-garde Dadaist movement, such as proclaimed antitraditionalism, iconoclasm, collective participation in the creation process, an interest for primitive art, designing the path for the future performative art. Also, we argue that the so-called originality of the movement, proclaimed by its founders, is not completely justified, as long as its members had been influenced by the pre-avant-garde groups from Créteil, Puteaux, Rue du Delta or by Futurism. Nevertheless, the Dada movement became a turning point for the future actionism, through its interest in a synthesis of the arts. [ABSTRACT FROM AUTHOR]

The present article takes into consideration the relation between the Symbolist precepts concerning art and Richard Wagner's theory about the spiritual in art, and their appropriation by The Salon de la Rose + Croix and, implicitly, by its official composer, Erik Satie. As we present the historical and conceptual context of the apparition of The Salon de la Rose + Croix, our attempt is to show that Satie's compositions reflect the idea of spirituality and a certain ritualistic aspect. These attributes, as well as the tendency towards a synthesis of the arts, manifested by the composer - a theory and a practice proposed by Richard Wagner - are early examples of a foreshadowing of performative, ritualistic, contemporary art manifestations. [ABSTRACT FROM AUTHOR]

Despite of the fact that the Romanian sculptor, Constantin Brancusi, is a well known artist, who marked the beginning of the XXth century, his work being considered a border stone in the evolution of sculpture in the Modern Age, his personality may be often misinterpreted, as well as the deep signification of his works. The present article refers especially to the roots of the artist’s philosophy, tending towards a certain kind of religion. The research of the sculptor’s sources, which compiled a very personal, complex and original system of thought, demonstrates that Brancusi managed to create for himself a philosophy, that was projected upon his life and his work, involving the development or the process of sculpting from the observation of the figurative reality to the representation of the idea, or the essence of that reality. The article demonstrates that the artist’s philosophy becomes the religion of his art. [ABSTRACT FROM AUTHOR]