Looking for design inspiration?   Browse our curated collections!

Romeo Niram - Artist

Romeo Niram Press Releases

Browse through all of the press releases issued by Romeo Niram.

Romeo Niram is a Jewish painter born in 1974.   He currently lives in Madrid.   His most important series of paintings are considered to be “Brancusi E=mc2” and “Diary - Eliade – Essay”.   A great many reviews on his work have been published in magazines from Spain, Portugal, Israel, Romania, Germany (Almiar-Margen Cero, Vigo Metropolitano, Azay Art, Raíces, Carta de Sefarad, Diario de Pontevdera, The Magazine of the Association of the Critics of Aragon, Aleph, etc).   In 2008, a thesis on his series “Diary - Eliade – Essay” was held by art critic Begoña Fernández...more
Post on Facebook
Post on Twitter
Post on Google+
Post on StumbleUpon
Post on Pinterest

Joined

2010

Followers

4

Visitors

2,873

 

On The Pictorial Paths Of Femininity

Madrid, Ma - December 30th, 2011

by Amanda Jurez Azay Art Magazine The life of every human being does not cease to be a journey from the day he was born, even though an existence can be so deeply characterized by staticity. We travel all the time through uncertain days. Life itself is a path, a line towards the end. So, in the world of art, of painting to be more specific, there has always been a tendency to trace the paths of the feminine physical geography, the painters setting themselves up as homo viator. Such is the case of Romeo Niram in Humanografa. Humanografia 3 by Romeo NiramMan has always had a contemplative inclination towards the feminine physique (regardless of their accessibility to it); in addition, there are also various preferential nuclei, whose attractiveness is justified from a biological standpoint. Taking all this into consideration, art has managed to transcend this socio-biologica...

Artists Of The New Millenium Onik Sahakian And Romeo Niram

Madrid, Ma - October 23rd, 2010

by Eva Defeses Revista Niram Art In the article "Brancusi E=mc2" - Painting Exhibition at Mac, Lisbon, published in the previous issue of Niram Art Magazine, I underlined Romeo Niram's attempt to bring together two different visions, one in the scientific field, of Albert Einstein and the other in the artistic one, of Constantin Brancusi: "This exhibition is dedicated to the encounter that has never taken place in the real world between the physicist Albert Einstein and the sculptor Constantin Brancusi, an encounter that may have taken place in the world of the creative ideas. Romeo Niram tries to find common points, to establish relations between science and art, showing how the human mind can reach, by way of unknown and unexplainable mechanisms, scientifically or artistically, the same genial intuition that can determine the progress of Humanity. Brancusi's sculpture, Einstei...

Niram, Brancusi And Einstein

Madrid, Ma - October 23rd, 2010

By Caitlin Periou - art critic Azay Art Magazine 2010 Romeo Niram has been credited for making great strides for culture through his artwork. Romeo Niram created Niram Art, a fine arts magazine, and received a Trophy for Best Arts Magazine in Portugal in 2007. Due to his involvement in other projects such as Espacio Niram, Niram continues to promote culture and art. In 2009 Romeo Niram received the MAC Award for Cultural Promotion for his efforts. Born in 1974, Romeo Niram harks back to another famous artist in his Brancusi E=MC2 collection from 2007. Most obviously, Niram's inspiration largely comes from the work of Brancusi as well as the scientific work of Albert Einstein. In this collection, Niram strives to connect physics and art by combining the ideals of Albert Einstein with that of Constantin Brancusi. In The Beginning of the Earth, Romeo Niram places Albert Ein...

The Venuses And Majas Of The Last Century

Madrid, Ma - October 23rd, 2010

by Hctor Martnez Sanz in Azay Art Magazine Translated from Spanish I have always felt a healthy envy regarding art issues: I would like to have a painters eye and not only the eye of the critical spectator. Thus, I might find out all that the artist knows and the public loses. However, if I had that eye, I would not write, I would take up the brush and the palette. In the end, the worst critic is always a painter and the worst painter always takes up criticism. I can see and write as far as my spectator eyes reach with the frustration of not being able to overtake the boundary of the painting itself, where, rather than just an object, the painting becomes a foreshadowing of the artists soul facing a white linen. This is the reason why I like to chat with artists, thinking with naivety that some bits and pieces of that world may fall on the table and I would be able to grab hol...