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The Theodor Aman Museum is a museum in Bucharest dedicated to the life and work of Romanian painter, engraver and art professor Theodor Aman.

Theodor Aman Museum is located in Bucharest,on C. A. Rosetti Street. It includes a memorial collection of painting, graphics and sculpture, as well as work utensils and other objects belonging to the painter and graphic designer Theodor Aman (1831-1891).

The building that currently houses the museum was constructed in 1868, and is located between the Romanian Athenaeum and the Memorial of Rebirth. The building served as Aman's workshop and private residence until his death in 1891.[1] The house was converted into a museum in 1908, and has since then remained stylistically untouched.[1]

The entirety of the house was designed by Theodor Aman himself, including the house's architectural plans, its exterior decorations (done in collaboration with sculptor Karl Storck), mural paintings, stained glass, stucco ceilings, wood panelling, and furniture.[2] The bulk of the art contained within the museum is also by Aman, who specialised in small oil paintings depicting aspects of local and national life in Romania.

The "Theodor Aman" Museum has been operating as such since its opening in 1908 in the painter's home, an edifice unique in the architectural landscape of the second half of the 19th century. It is the first artist's workshop house in Romania. The heritage value consists primarily in the memorial aspect of this plastic and architectural ensemble. From the plans of the house and the exterior decoration (made in collaboration with the sculptor Karl Storck), to the interior decoration: mural painting, stained glass windows, painted decoration applied to the doors, stucco of the ceilings, paneling in the workshop and carved furniture, all are the result of Aman's vision. The plan of the edifice imagined by Aman will be reflected in a project, made by the entrepreneur Fr. Scheller, at the precise indications of the artist. In October 1869 the dwelling, a true temple of art, was erected. In the articulation of his edifice Aman will appeal to elements of neoclassical and Renaissance architecture, visible mainly on the northern and eastern facades, but also to the neo-Gothic style, in the decoration of the painting workshop, the most spectacular room of the house. Here the artist lived and worked until the end of his life in 1891. The house returned by will to his wife. In a letter, Ana Aman testified that the painter's wish was for this house to become a museum. Hence the steps she will take in this regard with the Ministry of Religious Affairs and Public Instruction and the Royal House. In 1904 the building, the collection of painting, engraving, the working instruments, the furniture, came into the possession of the state, and four years later, on 16 June 1908, the "Theodor Aman"

Museum Collections
The museum's collection is extremely varied and particularly valuable, as it consists of works, signed aman, in almost all genres and techniques of the art of the saddle, engraving, decorative art and various objects that belonged to it. Exhibited in the artist's house they make up a unitary whole, preserving the late 19th century atmosphere and the space in which the first modern Romanian painter lived and created. The main fund is Ana Aman's donation from 1904, later increased by other donations, transfers or purchases, but also privately, in 1950, by an important lot, which contributed to the establishment of the National Gallery.

Painting
The museum holds 165 works of oil painting on canvas or on woodenpanels. There are canvases that follow the evolution of the artist from the beginning of the creation to the works of maturity. Aman is the first Romanian artist to excel in approaching new genres: consecrating the battle scene and the historical portrait, "artist's workshop", the ambience inside or the immediate landscape of his house, the worldly meetings, the gender scenes in the urban or rural landscape (some real period documents, which capture aspects of the daily life of the second half of the 19th century and the evolution of the fashion of those times), the landscape of the mature years, the nude, as a new genre (before Nicolae Grigorescu) or the oriental scenes. All this is illustrated in the collection and proves theodor Aman's modernity.

Graphics
Graphics occupy an important place in the collection, in particular the engraving in vaforte, a technique that Aman learned during his years of study in the capital of France and to which he will devote himself with perseverance from 1872 to 1881. For outstanding performance in this technique he was elected a member of the Paris Aquafortist Society in 1875.