156. Family of Turks in Dobrogea [1916-1919]

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156. Family of Turks in Dobrogea [1916-1919]

Nicolae Dărăscu

1883, Giurgiu - 1959, Bucureşti

Estimate:

EUR 10.000 - 18.000

Sold

EUR 13.500

References

DRAGUT, Vasile, "Nicolae Darascu", Meridiane Publishing House, Bucharest, 1966.

oil on cardboard, 50.5 x 69 cm, signed lower right, in red, "N. Dărăscu"

Setting off with the momentum learned on the Danubian lands, in his childhood, Nicolae Dărăscu will incorporate into his work the sunny atmosphere and the fullness of nature he was always surrounded by. The artist therefore dedicates a series of works capturing the fishing vessels, small houses with rich gardens, crowded markets, or endless expanses of blue. Having gone abroad for studies, he will extract his creative sap from the compositions of Claude Monet, only to later discover pointillism. He transforms his love for nature into a sunny and optimistic painting, incorporating elements of Impressionism and Neo-Impressionism in a tribute to nature. From Saint Tropez and Venice to Balchik and Tulcea, he will always orientate towards the arid landscape where the same warm chromatic and the dull color of his native Dobruja persist. After a long series of journeys through Europe, journeys that were inevitably transposed into painterly motifs, the artist will eventually stop in Dobruja. He discovers Balchik and develops a passion for its color. He paints scenes in which he focuses on rendering groups of people, inns, or slum areas. At the personal exhibition organized in 1924, he presents several works that take as a starting point the Black Sea, with the incandescent rocks and reddish hills, Tartar houses, and azure skies. Dărăscu succeeds in lending to his work his sunny spirit, through the vibration of tones and the rigor of the technique that breaks through beyond the dusty roads of Dobruja and Balchik. Another variant of the present work can be found in the collection of the Brukenthal National Museum (rendered in much lighter tones). Adults and children alike are found at the terminus of the nomadic settlement, sitting directly on the ground, or holding their children in their arms. The scene becomes representative not only through the prism of aesthetic or technical attributes, but also by introducing the ethnic factor.

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