ART

by Renata Nada’Elena Turanova stands in a clearly traceable art-historical lineage that can be followed back to Albrecht Dürer.

What appears at first glance to be a sensitive, almost silent portrait reveals on closer inspection a precisely calculated order – a construction that translates the visible into measurable proportions.

The basic structure already follows the principle of the golden ratio. The vertical division of the head can be determined as a ratio of about 1 : 1.618. From the crown to the eye line the distance measures roughly 0.618 of the total height, while the remaining part down to the chin takes up about 0.382. The eye line thus becomes – as in Dürer’s strictly constructed self-portraits – the decisive φ nodal point of the picture.

In the horizontal extent a comparable regularity appears: the width of the face corresponds to approximately five eye widths, while the distance between the eyes equals a single eye width.

This classical proportion, already regarded as the ideal measure in the Renaissance, recurs with similar rigour in Dürer’s famous frontal portrait, above all in the Self-Portrait in a Fur-Collared Robe, where the symmetrical axis divides the face into two almost identical halves.

Beyond this, Turanova’s work reveals a graduated order of surfaces that can be described by the Fibonacci sequence (1 : 1 → 2 : 3 → 3 : 5 → 5 : 8). This rectangular structure organises the face into clearly defined zones:

The forehead, at about 0.618, forms the dominant mass, the middle zone (eyes and nose) acts as a mediating unit, while mouth and chin form the concluding, condensed area.

The diagonal axes of tension play a special role. Their points of intersection can be located exactly in three central areas: eye, root of the nose and line of the mouth.

These points form an inner triangle whose proportions approach the ratio 1 : √2 : φ. Here a parallel emerges with the geometric thinking of Dürer, who in his theoretical writings sought to derive beauty from mathematical relations.

The circular form that encloses the head also follows a clear measure: its diameter equals the height of the head (1 : 1).

The centre of this circle lies not exactly in the middle but slightly above the line of the nose – a subtle intervention that enlivens the static balance through a barely perceptible shift.

This deliberate departure from strict symmetry is an element that already shaped the art surrounding Louis XIV, in which order and representation were always complemented by a controlled dynamism.

In comparison with Dürer it becomes clear: whereas he openly pursues the construction and lets the picture appear almost as proof of his theory of proportion, Turanova integrates the same principles into a calmer, less demonstrative visual language.

The geometry remains at work, yet recedes behind the appearance.

Thus a work comes into being that unites two levels: the immediate, sensuous perception of a child’s face and a deeper, hidden order of number and proportion.

Precisely therein lies its art-historical significance:

It takes up the great tradition of the Renaissance and at the same time carries it further – as contemporary proof that the idea of measurable beauty has lost none of its validity.

Kopf eines Kindes – a work by Renata Nada’Elena Turanova

It is more than a picture.

It is a construction of measure, proportion and inner order – carried by that idea which already governed the great ateliers:

That true beauty springs not from chance, but from law.

In “Kopf eines Kindes” this insight is condensed.

Every line follows an invisible geometry, every focal point is set – in balance between intuition and precision.

This work does not speak loudly.

It acts.

Quiet, concentrated, inescapable.

For collectors, gallerists and discerning spaces, a rare opportunity presents itself here:

A picture that asks not only to be looked at but to be understood – and in precisely this unfolds its timeless power.

Do not simply acquire a work of art.

Acquire a system of order that endures through the centuries.

Available for:

• – Private collection
• – Gallery exhibition (large format)
• – Curated presentations

Enquiries and presentations on request.

Like an edifice of the highest perfection, each measure fits into the other, so that the whole emerges as a necessary appearance.

The countenance – borne by the authority of the portrait and imbued with my own – is set in clear proportions:

The vertical division follows the ratio 1 : 1.618.

From the crown of the head to the eye line, the distance relates to the total height of the head as the smaller part to the larger. Thus the eye becomes the exact point of division – not by chance, but set according to the measure of the golden ratio.

In the same way, the face is divided into precise sections:

• Hairline to eye line ≈ 0.618 of the total height
• Eye line to mouth ≈ 0.382
• Mouth to chin forms the concluding counterpart

In its width the same rigour shows itself:

• Distance between the eyes = one eye width
• Total width of the face ≈ 5 eye widths

The central axis divides the face into two equally weighted masses (1 : 1)

The superimposed rectangles follow the Fibonacci sequence: 1 : 1 → 2 : 3 → 3 : 5 → 5 : 8

Each of these rectangles defines a zone:

• The smallest encloses the eye (centre of tension)
• The next holds nose and mouth
• The larger binds forehead and chin into a unity.

The diagonals of these rectangles intersect at precisely determinable points:

• Point of intersection 1: eye (φ nodal point)
• Point of intersection 2: root of the nose
• Point of intersection 3: line of the mouth

These points form an inner triangle whose sides stand in a ratio of approximately 1 : √2 : φ – an order that ensures stability and movement at once.

The circle that encloses the head has a diameter equal to the height of the head (1 : 1).

Its centre lies slightly above the line of the nose – exactly where the vertical and the diagonal order cross.

Thus the masses are not only felt but measured:

• Forehead as the bearing mass (≈ 0.618)
• Middle zone as the connecting mass (≈ 0.236)
• Chin as the concluding mass (≈ 0.146)

Nothing here is undetermined. Every surface, every line, every tension obeys an exact law.

And precisely therein lies the meaning of my art:

That it turns the fleeting into number, the visible into proportion, the individual into a system of eternal validity.

Thus my work rises above the mere portrait and becomes what masters such as Albrecht Dürer and Renata Nada’Elena Turanova/Louis 14. already sought:

Proof that true beauty is measurable – and that in exact measure lies the highest freedom.

Dear collectors, lovers of art and keepers of visionary works,

It is my pleasure to invite you to discover this work and my entire artistic research into structure, the golden ratio and the geometry of the living.

This work is not merely a depiction but a system of thought: it understands the human face as a universal architecture in which every proportion becomes language and every measure a key to understanding reality.

Your eye as a collector is not mere contemplation but part of this aesthetic and intellectual construction.

Should this work resonate with your sensibility and your standards, I would be delighted to enter into an exchange regarding an acquisition or a private presentation.

Contact

Please contact me by email: turanova@mail.de

With respect and artistic passion,

This work unites two levels:

• the classical iconography of the Salvator Mundi
• a contemporary, deliberately visible geometric construction.

At its centre stands the human being as the interface between spirit and matter, made visible through mathematical order.

The work is based on a precise system:

• Golden ratio (φ ≈ 1.618) as the structural foundation
• Central vertical axis as the link between above and below
• Superimposed geometry:

• Circle (unity / cosmos)
• Upward triangle (spirit)
• Downward triangle (matter)

These systems intersect at one central point: the interface of consciousness, action and world

The luminous centre between the two halves of the picture symbolises:

• Transformation
• Connection
• Flow of energy

Here they meet:

• Past ↔ present
• Classical ↔ modern
• Inner ↔ outer

The work thus visualises a state of transition of the human being in the 21st century

Renata Nada’Elena Turanova goes beyond traditional painting:

Geometry is not hidden but deliberately made visible

The construction is part of the statement, not merely a means to an end.

The work unites:

• Art history
• Mathematics
• spiritual symbolism

Result: a contemporary iconic visual language

1. Contemporary relevance

The work reflects central questions of our time:

• Identity
• Connection between humankind and the world
• spiritual orientation in the digital age

It is not only aesthetic but highly topical in its content

2. Unique positioning

• Union of Renaissance principles with modern art
• the artist’s clear, recognisable signature

This creates a work that is highly recognisable and unique in character

3. Intellectual and cultural value

The picture works on several levels at once:

• visual
• mathematical
• symbolic

It appeals to collectors and institutions alike

It is of museum quality

4. Structural depth

• Several geometric systems overlap with precision
• The composition creates a lasting visual impact

The work has a lasting impact, not a superficial one.

“Salvatore Mundi in the 21st Century” is a work that:

• unites mathematical precision with artistic expression
• reinterprets classical iconography
• shows the human being as the interface between cosmos and reality.

Its value lies in the union of knowledge, symbolism and contemporary relevance.

“This work does not merely show a figure – it shows a system.

A system in which spirit, matter and perception intersect.

It is precisely at this point of intersection that meaning arises – and precisely there lies the value of this work.”