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118. The Red Table [1964]

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118. The Red Table [1964]

1908, Bacău - 1975, Paris

Estimate:
EUR 4.000 - 6.000

References

SĂNDULESCU, Mihai, "Dimitrie Berea and His Master Pierre Bonnard", Official Gazette Publishing House, Bucharest, 2021.

oil on canvas, 73 x 92.5 cm, Signed and dated bottom left, in red, "Berea, (19)64"

Research information

The work participated in the exhibition "Berea. Recent works," Stephen Silagy Galleries, Los Angeles, 1964, and is reproduced in the exhibition catalog on page 9 under the title "La table rouge." The work participated in the retrospective exhibition "Berea," DeYoung Museum, San Francisco, 1965, and is reproduced in the exhibition catalog under the title "La table rogue." The work is reproduced in the catalog "Dimitrie Berea and his master Pierre Bonnard," Mihai Săndulescu, Monitorul Oficial Publishing House, Bucharest, 2021, page 37, under the title "La table rouge."

Adept of warm paintings, Dimitrie Berea did not hesitate to fully surrender to the canvas of color. In his works, Berea is guided by an intrinsic chromatic order. His light-filled interiors or diaphanous women’s portraits, which he had the opportunity to paint, demonstrate the artist’s concern with depicting reality in the most authentic manner possible. Berea excelled in reproducing the paradisiacal atmosphere of the French Riviera and Palm Beach. A traveling painter, Dimitrie Berea invited the viewer to join him on his journeys. Thus, his works depict interiors with large French windows opening onto landscapes torn from paradise. During the 1950s-60s, Berea experimented with warm, light tones that do not lose their brilliance. At this stage, his brushstrokes are dense, deeply vibrant, and do not betray the truth behind the painting. While his teacher, Pierre Bonnard, was not an advocate of plein air painting, Dimitrie Berea often painted surrounded by vegetation, and his images from the south of France reflect his pictorial preferences. Berea primarily paints what he observes, and his talent transforms direct observation into a personal and faithful interpretation of the scenes encountered. He does not betray his predecessors; on the contrary, he takes

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SESSION
Tue, 20 October 2026, 19:00

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