78. Woman Inside

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78. Woman Inside

Theodor Pallady

1871, Iaşi - 1956, Bucureşti

Estimate:

EUR 12.000 - 18.000

Sold

EUR 16.000

References

CRIȘAN, Dana, "Pallady scriind. Jurnale, scrisori, însemnări", Ed. Compania, București, 2009
GEORGESCU, I.L., "Pe urmele lui Pallady", Ed. Lumina Lex, București, 1998
ŞORBAN, Raoul, "Theodor Pallady", Ed. Meridiane, Bucureşti, 1975

oil on canvas glued on cardboard, 46 x 38 cm, 38x46, signed right side "T. Pallady", in pencil

PROVENANCE

the collection of Ninette Schapira and Gheorghe Răut.

A Pallady from the collection of Gheorghe Răut is a remnant of our cultural Romanian heritage, the materialisation of the creation of the former and of the love of the latter for the painter. It is well-known that much of the collection of the banker Răut (president of the Paris branch of Marmorosch-Blank) led to the creation of the Pallady Museum, by donation. After 10 April 1940, when Pallady left Paris for Good, Răut was the one who continued to take care of the artist's workshop in Place Dauphine until after Pallady's death, so we can easily understand the connection between the two. Perhaps attracted by a philosophical definition of beauty, they both shared the same passion for classical painting, in which female models are the essence and the core of a composition. Primeval source and muse of Theodor Pallady's creation, the woman was treated by our painter, no matter the age and style (which suffered various interpretations, particularly in the first period 1900-1910) in an atypical manner, particularly if we mention nudes or portraits. Even though the first female nudes shaped by Pallady were clearly influenced by the post-1900 styles, of which symbolism and lyricism seem to coordinate the dream-like apparition of the model in the landscape, Pallady did not fall prey to an easy manner of interpretation, especially due to the realism that guided him throughout his life. Critics always identified the spirituality in his approach of his favourite themes (female figures) and the typical aristocratic lyricism with which they are charged. The woman resting on a sofa (by the window), the imminence of the figurative, by reminiscing of the famous interior, the thinking position of the character, but above all the very typical manner of interpretation of form give to this painting a charge that goes beyond the mere natural apparition of the model posing for the artist. The canvas completes a homogenous cycle designed by Pallady in the 30s, when the painter was still working in Paris.

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