Constantin Raducan’s painting borders on the cultural reflection with a certain urgency of expression. As a romantic temperament inclined to decisive gestures with a strong perception of the sensorial world, the painter represses and orders his energies submitting them to a cultural discipline. Without cultivating them as such, he resorts to the known genres of painting and sometimes even to models and iconographic episodes already recognized in the art history – in order to temper his impulses and to finalize his irrepresible force of expression.

Landscape and still-life, portrait and composition, quoting from northern or Italian painters, the gloss on sacred programs, the hand radiography as a proof of virtuosity and as a possible source of a specific language are as many cultural premises used as coagulating agents, as systematizing elements of an alluvial tide.

But, although Constantin Raducan starts fom cultural conventions, he neither complicates nor ostentatiously intellectualizes his expression. In spite of his appealing to culture, the painter remains a vitalist, an active nature living in the proximity of the Dionysian struggle. His eyesight is expansible, centrifugal and globalising.

Pavel Susara – Literary Romania nr. 20, 22-28 May 1996