Age, Biography and Wiki
Horia Damian was born on 27 February, 1922 in Romania, is a Romanian painter and sculptor (1922–2012). Discover Horia Damian's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is he in this year and how he spends money? Also learn how he earned most of networth at the age of 90 years old?
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Age |
90 years old |
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Pisces |
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27 February 1922 |
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27 February |
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Date of death |
2012 |
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Romania
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We recommend you to check the complete list of Famous People born on 27 February.
He is a member of famous painter with the age 90 years old group.
Horia Damian Height, Weight & Measurements
At 90 years old, Horia Damian height not available right now. We will update Horia Damian's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.
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Dating & Relationship status
He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.
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Horia Damian Net Worth
His net worth has been growing significantly in 2023-2024. So, how much is Horia Damian worth at the age of 90 years old? Horia Damian’s income source is mostly from being a successful painter. He is from Romania. We have estimated Horia Damian's net worth, money, salary, income, and assets.
Net Worth in 2024 |
$1 Million - $5 Million |
Salary in 2024 |
Under Review |
Net Worth in 2023 |
Pending |
Salary in 2023 |
Under Review |
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Not Available |
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Not Available |
Source of Income |
painter |
Horia Damian Social Network
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Timeline
Horia Damian (Bucharest, 27 Feb 1922 - Paris 14 May 2012) was a Romanian painter and sculptor.
Damian enrolled at the School of Architecture in Bucharest in 1941.
In that same year he made his debut at the Salonul Official de Pictura at Sala Dalles in Bucharest.
His first one-man show took place at the Ateneul Roman in Bucharest in 1942.
He was awarded the Anastase Simu Prize for painting.
In 1946, he won a scholarship to Paris, where he later settled.
After a few months with André Lhote he worked with Daniel Lager in 1949-50 and then studied with Auguste Herbin, becoming acquainted with Piet Mondrian's work through Felix del Marle (1889–1952).
This encounter with abstract art led to his first truly original paintings, such as Starry Night, which consists of a geometric arrangement of white dots.
He destroyed most of the works he produced during the second half of the 1950s, an experimental period for him.
His works of the early 1960s, executed in oil on a polyester base, are in a gestural, impasto style close to Tachism, as in Constellation.
By the late 1960s, his work had become increasingly geometric and sculptural, as exemplified by the Throne series; these are not free-standing sculptures, but rather set against plain backgrounds.
The first of his large-scale monuments, Galaxy, a project for a Monument at Houston, Texas, was designed in 1972 and constructed in 1974 at the Neue Galerie in Aachen.
Several further monuments in the Galaxy series were constructed, others remaining as maquettes.
His fascination with the monumental continued in The Hill, constructed for the Solomon R. Guggenheim Museum in New York from Styrofoam covered with tiny paper spheres and then painted yellow.
This was followed by similar monuments, such as that for San Francisco, which is illustrated in the gouache Project for San Francisco.
• The Solomon R. Guggenheim Museum, Horia Damian – The Hill, New York, 1976
Meridiane, Bucuresti, 1982
• Prut, Constantin, Dictionar de arta moderna si contemporana, Ed.
• Prut, Constantin, Dictionar de arta moderna, Editura Albatros, Bucuresti, 1983, p. 107-10
• Documenta 1992, catalog, Kassel, 1992
• Florea, Vasile, Arta romaneascva moderna si contemporana, Ed.
Univers Enciclopedic, Bucuresti, 2002
• Grigorescu, Dan, Dictionarul avangardelor, Editura enciclopedica, Bucuresti, 2003, p. 171-172
• Akoun, J.A., La cote des peintres, Paris, 2004
• Dictionnaire de l’art moderne et contemporaine, Ed.
• Jianu, Ionel, Artisti romani in Occident, Bucuresti, 2005, p. 57