106. Ahmet Ali (On the Seafront at Balchik) [1929]

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106. Ahmet Ali (On the Seafront at Balchik) [1929]

Dan Ialomiţeanu

1899, Bucureşti - 1979, Bucureşti

Estimate:

EUR 4.000 - 6.000

Sold

EUR 5.750

References

BARBOSA, Octavian, "Dicționarul artiștilor români contemporani" ("Dictionary of Romanian Contemporary Artists"), Meridiane Publishing House, Bucharest, 1976.

oil on cardboard, 93.5 x 63 cm, 93,5 Ã 63 cm, signed and dated bottom left, in black, "I. Dan, (1)929"

The paintings of landscapes and flowers that consecrated him in the artistic life of Bucharest between the two world wars, Dan Ialomiţeanu presented, at first shy and then religiously, a portrait once in a while. The vibrant colours, with bright red shades, green or blue declensions, ochre variations and earthy tones or short touches, applied alertly and repeatedly, eventually describe a composition dominated by clarity. Like other artists of the past century, Dan Ialomiţeanu went on his journey of initiation to Balchik, a journey that contributed to the evolution of the artist from the status of a neophyte to that of a master of his technique and abilities. Thus, the end of the 20s was an important moment in the evolution of the Romanian artist, who arrived to the arid lands on the coast. However, although he had a clear penchant for the landscape, Dan Ialomiţeanu did not ignore man. Portraiture became a more prominent direction from this moment on, and characters such as the old Osman or Ahmet Ali completed the results of his pilgrimage to Balchik. The quiet, thoughtful Turk, barefoot children, or the Tatars who work in the courtyards or in their houses became the painter’s favourite subjects. Captured in profile, the protagonist of this work becomes the representative of an entire social category, sitting at the forefront of the canvas and allowing his native land be seen, with the quiet sea and cliffs frozen in time. On the face of his model, the artist sketches the anxiety of thoughts and the burden of unforgiving time, but his placement in the natural setting overflowing with peace still indicates the joy and tranquillity of the life spent at the seaside. Constructed harmoniously, the work is provided with perfectly balanced compositional planes, carefully chosen volumes, superimposed by rhythms and shades specific for Impressionism. (D.C.)

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