"Why Dürer?
Dürer's family sign (engraved by himself in wood in 1523) shows a
wooden portal like those who still exist today in north of Sibiu – the
country of his father. The portal is open. An invitation to come in.
Inside in Dürer's world, that he created for him but also for us. So it
could be also my world. A large world with lots of corners to discover ..."
(By Ion Stendl, Stuttgart 1998)


"Ion Stendl's style is caracterised by a strong sense for modernity
that is allways open for the values of the Renaissance as for the
ancient greek art, the Hellenism, the romanian folk art, or, for
example, the works of Paul Klee. The way in wich Stendl's creative
energy concentrates is marked by the will to capture the visually
difficult to express, the indefinite: time and movement. (...)

Time as permanent revealing of the material – this is a thought
that offen leads Ion Stendl's creation. He lays emphasis on the
tragical dimension that time receives when it is wiped out from
memory by the history."
(By Liviu H. Oprescu, Bucharest 1993)


"The revival of the antique spirit in the Renaissance, this great
achievement of the european culture is one of the main themes
of Ion Stendl's work. But why this fantastic constellation of figures,
with different proportions, unreal as a whole? They are dream
creations, like those that often appear in the art history when
something real can no longer be formulated, think of Salvador Dali
for example. The cultural experiences and remembrances of the
antique and the Renaissance are associated like in a kaleidoscope.
Those images are the expresion of the european cultural collectivity
and, futher more, of the mankind. They are a sign of the spritual
heritage, that builds our unclear and often wiped background of
the conscience and that partialy submerged in the unkown."
(By Axel Janek, Bad Steben 1998)