Villa Matilda

PA INT ER ST EFA N LUCHIA N CENT RE FOR A RTS A ND CULTURE

Mathilde Rădoi
Set in central Bucharest, Matilda Radoi built the house for herself in 1896-97, a time when few women were property owners. She chose
N.C. Michaescu as her architect, and her very close cousin – blooming painter Stefan Luchian - for the interior decoration. The villa was
built in eclectic style, gathering neo-gothic influences and glimpses of what would later be defined as neo-Romanian. As political
independence of the country from the Ottoman rule was still rather fresh, the cultural re-orientation towards occidental Europe was at its
peak: artists and architects were trained in Germany, Switzerland, France and Italy, and a continuous flow of artistic motives, themes and
techniques swept the larger cities. Villa Matilda benefited directly – Luchian was schooled in Munich and Paris, and brought along helping
friends: architect Alexandre Clavel and painters N. Vermont, Constantin Artachino, Al. Bogdan.
By the end of the Villa’s construction, Matilda exceeds her budget and also gets divorced; at 34 she has three daughters to look after. The
house is put up for rent, and rich bankers and government members inhabit it until 1920, when General Arthur Vaitoianu buys it. Matilda
has never lived a day in her dream house.
The General had several frescoes and walls covered up, also changing the heraldry to his
own initials. In 1952 the house gets appropriated by the communist state which sets 10
families to inhabit its richly decorated halls and rooms, using each and every one as both
kitchen, bathroom, storage and bedroom. By 1981, the house is severely damaged.
Maria Marcu, architect in charge of the restoration and conservation team that takes on the
Villa, finds all original paintings and decorations hidden under extreme filth, dust, grease,
and 7 layers of paint. Throughout 1983 to 1987 the Villa is carefully restored: Ms Marcu
managed to convince the state to evict all lodgers and convert the villa for public functions
– a library. However, the budget exceeds once more the possibilities of the public library
network, and the Villa gets help from the Romanian Chess Federation. By 2000, the Villa is
bought by our Romania de Maine Foundation, and used as office quarters.
Ștefan Luchian
For Romanian art, Luchian is the promoter of modernism in painting. Shaped by academic experiences in Munich and Paris, passionate
about technology and novelty, Luchian explores light and rapidly feeds on impressionism, symbolism, art nouveau and modernism. On his
return to Romania, he founds the Salon des Independants and the Artistic Society for developing Arts – Ileana (1896). His colouring
techniques and vibrant transparencies set him as the young artistic hope of the country – his landscapes, portraits, natures mortes –
especially the flowers. At age 32 he develops multiple sclerosis but continues to paint, even when paralyzed. Tainted by a late accusation
of fraud, he finds comfort in the support of the highbrows of the artistic society.
Villa Matilda is Luchian first major mural decoration project, and the only one to have survived in such large proportions. Reflective of his
beginnings, it holds an immense value for a period that rather lacks other documentation. Luchian signed the work in three different
zones – signatures that have been covered by the General’s daughter prior to surrendering the house to the state in the 50s. Rediscovered
by chance in 1973, the authenticity of his work is attested by historian Petre Oprea and, through his study, reintroduced to the art circuit.
Setting – set in Protected District no. 40, in the very core of the city, the Villa is a testimonial of the urban personal residencies typical
of the historical fabric of 19th century Bucharest. Its varied volumes respond to light, vegetation and shape the inner circulations that allow for each of
the three levels to be accessed independently but to harmonize around a central staircase. Its garden has long been altered to fit parking lots and a large
public for chess competitions.
Main entrance – MR heraldry, signed carved glass panes and rich plaster decoration.
Info point and Romanian Hall
Future uses:
– decorated ceilings –

Info Point (welcoming desk, wardrobe, ticket office, memorabilia shop)

Romanian Hall – Research Centre for Promoting Patrimonial Value , digital library
Meeting Point – the main hallway was completely covered up at the General’s request: silk tapestry and wood
paneling made the recovery of original paintings impossible but for one central medallion.
Future uses: meeting point for visitors, foyer for the main halls, permanent exhibition of the house’s restauration and history
Matilda’s Reception Hall – exquisitely decorated with floral and natural motifs, bearing
the signature of Luchian above one of the doors, as well as the year, 1987. The niche, with its muses, brigs homage to the owner and a testimonial of the
older house, that stood on the land before the Villa.
Future uses: cultural and artistic events (book launches, conferences, workshops, lectures)
Matilda’s Living Room – Luchian exhibits here his mastery: he painted over horizontally-
combed plaster, resulting in a faux-tapestry effect that completely transforms in light. The ceiling is also his oeuvre – light pastels and transparencies of
muses and angels. Glass stained windows from Poland, oak paneling and a niche responding symmetrically to the one in the adjoining hall, complete
the room. Future uses: cultural and artistic events (book launches, conferences, workshops, lectures)
Turkish hall and adjacent room - the Turkish Hall is decorated with
geometric patterns of Islamic inspiration, devoid of any figurative paintings, while the adjoining room, Matilda’s former bedroom, has its ceiling painted
by Luchian in his typical pastel and transparency technique – muses and angels. They both hold ceramic-clad heaters.
Future uses: cultural events organized by project partners.
Details and care – original blueprints signed by arch. Michaescu. Of all three floors, the elevated ground floor is the most
precious – it’s careful decoration show it was dedicated to the public, social interactions of the owner. However, the same spatial generosity and attentive craft is given to the
semi-basement and top floor. The semi-basement holds the summer living room, winecellars, kitchen, greenhouse and service rooms – a large iron stove, stained glass, brass
doorknobs, an inner balcony and made-to-measure doors add a personal touch to an otherwise technical floor. The top floor held three bedrooms and bathrooms – the height
and light are the impressive touches here. Future use – SB exhibition halls, debates, meetings, workshops, digital studios: TF rental offices/studios for creative freelancers.
Reaffirming the Villa Matilda in the city
Villa Matilda’s main asset is the unique extensive mural oeuvre by Stefan Luchian, that has never been openly exhibited to the public. Its
position of high walkability and accessibility in the city’s centre, and being part of the protected area allow for it to be easily integrated in
existing cultural and touristic routes.

The personal history of the Villa is its secondary asset – it opens both social discussions regarding the women’s role in Romanian society,
the role of art in architectural endeavours, and also the political decrees that alter spatial uses and significances. The restoration process
it went through in the 80s is well documented and can be a stand-alone educational exhibition in architectural, structural, technical,
chemical and artistic conservation.

The third asset of the Villa is its setting in time: at the moment Luchian painted it, he was at the height of his social artistic activity. Ileana,
the Society for developing Arts in Romania, that he co-founded a year prior, had already organized a series of conferences at the
Romanian Atheneum (first public cultural building of the State, funded with public donations, built in 1888), and would host an exhibition
and publish the Ileana Art Magazine. Luchian’s belief in educating the public and aligning the country’s culture to Europe’s is a legacy we
wish to continue within the Villa Matilda.
1.Cultural and artistic centres of Bucharest –

Villa Matilda (in blue) lies east of Bucharest

Km 0, within a 500m radius of parking
grounds, University subway station,
tramway, bus, trolleybus stations. In its
direct proximity there are a series of
attractors: two parks, a large number of
small scale young entrepreneurship coffee
places, pubs and bistros, street festivals,
libraries, independent and state theatres,
the historical city centre, a large number of
schols, highschools and faculties. Highly
important is the Bucharest Museum’s
network of memorial houses, art museums,
art galleries, as well as a host of private and
international cultural centres (Armenian,
Turkish, German, Italian, British to name but
a few). The urban fabric of the area allows
for pleasant walks.
Turning the Villa into a point in the cultural
and touristic circuits of central Bucharest is
not only highly possible, but necessary.
2. Villa as its own museum – Matilda’s portraits, her property papers, the
testimonials of Maria Marcu, Petre Oprea, Theodor Enescu, Viorel Grimalschi, the photographic and written documentation of the
restoration process – all make for a great educational permanent exhibition and also a basis for a guiding app for the visitors.
3. Ileana Society for Developing Arts
The original goals of Luchian’s Society were:

- pushing the artistic movements of all kinds throughout the whole

country
- contributing to the conservation of and promoting monuments and
art works in Romania
- opening sculpture and painting studios.

Ileana Society for Developing Arts had four committees in charge of its
actions: the committee for exhibitions, the committee for advertising
handling communication and conferences, the committee for historical
monuments overseeing the conservation of historical monuments and
art works, the committee of festivals, handling the organization of art
festivals,
(Petre Oprea, Ileana – societatea pentru raspândirea gustului artistic
din Romînia (1897 – 1899), în Studii și cercetări de istoria artei, nr
2/1960)

We aim at continuing the Society’s legacy through our planned

activities: debates, conferences, recorded talks, lectures, ateliers,
studios for rent, workshops, exhibitions, book launches, digital library.
Plans and future uses of spaces. SEMI BASEMENT
Plans and future uses of spaces. GROUND FLOOR
Plans and future uses of spaces. TOP FLOOR/ ATTIC