The modernity of Theodorei Cernat – Popp’s oeuvre is the result of an expressive synthesis specific to the Romanian Artistic environment of the 1920- 1930s, with its debates on the national specificity and the re-valorisation of tradition. Her sculpture is at the crossing between a classic realism present in the Central-European environment by the huge modelling influence of Antoine Bourdelle and, on the other hand, the recuperation and adaptation of the modern artistic imperatives to a thematic and stylistic background of byzantine inspiration. The stylistic choices that assimilate the late symbolist experience (started and perpetuated in Cecilia Cutescu-Stork’s workshop), the religious thematic (mediated by the influence of Sabin Popp or Olga Greceanu) and also other subjects of realist art (such as maternity, the study of the portrait, the allegory) find an adequate support in the series of reliefs made in patina chalk, animated by decorative modulations that demonstrate her receptivity for an aesthetic of the ornament specific to the plastic interpretations of Art Deco. She takes part in the dynamics of the Romanian feminine art through the association “Female Painters and Sculptors”.
Mica Gherghescu


(Bucharest, 1897 - 1980)

  - independent studies in Cecilia Cuţescu-Storck’s workshop;
  - sculpture studies with Ion Jalea;
1921 - Arthur Verona Free Academy.

1923 – study scholarship in Italy.

Professional activity:
Teaches in Cecilia Cuţescu-Storck’s workshop and her own on I.G. Duca street.
1948 - 1950 – works in the secretariat of the Romanian Plastic Artists Union. 


Solo exhibitions:
1938 - Bucharest;
2005 – Brancoveanu Palaces, Mogoşoaia, Ilfov.

Group exhibitions:
1924, 1925, 1926, 1930, 1931 – Official Salon, Bucharest;
1925 – Exhibition of the female painters and sculptors, Bucharest;
1948 – Exhibition for Woman’s Day.

Works, public art:
1924 – Portrait of painter Magdalena Rădulescu (patina gyps);
         - Portrait of woman with long neck (gyps);
         - Victory (gyps);
         - Female Mourner (relief, patina gyps);
1925 - Elegy (patina gyps);
         - The Annunciation (coloured gyps);
1934 – The Commercial Academia Hall (mural), Bucharest (with Cecilia Cuţescu-Storck);
1935 - Vlasopol House (mosaic), Băneasa;
1936 – Mausoleum from Mateiaş, Argeș (with Nina Arbore);
1938 – Mausoleum from Mărăşeşti, Vrancea (with Eduard Săulescu);
         - Banu Manta Town Hall (mural), Bucharest (with Olga Greceanu);
         - Royal Railway Station (mural), Mogoşoaia (with Olga Greceanu), Ilfov;
1940 - Sebastian Cernat House (mosaic), Bucharest.
1941 - 1945 - Autumn (patina gyps);
1942 – Institute for the Study of Universal History (mural), „Nicolae Iorga” Institute, Bucharest;
1949 – Church of Antim Monastery. Private order (mosaic).


Deac, Mircea, Sculptura în România. Secolele XIX-XX, Editura MEDRO, București, 2005.
Vida, Gheorghe, în: Dicţionarul Sculptorilor din România. Secolele XIX-XX. Vol. I., Bucureşti, 2011.

Nanu, Adina, Theodora Cernat-Popp, catalogul expoziţiei retrospective, Palatele Brâncoveneşti, Mogoşoaia, 2004.
Nanu, Adina, Theodora Cernat-Popp, în: „Arta”, nr. 9, 1988.
Neniţescu, Ștefan, în: „Adevărul”, 23 mai 1926.