71. Nude with White Shawl

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71. Nude with White Shawl

Theodor Pallady

1871, Iaşi - 1956, Bucureşti

Estimate:

EUR 25.000 - 35.000

Not sold

References

JIANU, Ionel, „Pallady”, Ed. Căminul Artei, București, 1944. ȘORBAN, Raoul, „Theodor Pallady”, Ed. Meridiane, București, 1975. CEBUC, Alexandru, „Pallady”, Ed. Monitorul Oficial R.A., București, 2008.

oil on canvas pasted on cardboard, 60.5 x 50 cm, 60,5 Ã 50 cm, signed upper left, with pencil, "T. Pallady"

Research information

The code E was used around the year 1931: the works marked in this way were present in his personal exhibition in Bucharest, the "Universul" Hall, 1-30 March 1931. Some of these works would later also be presented in the memorial exhibition "An homage to Theodor Pallady" from the Museum of Art of the Socialist Republic of Romania, December 1971 - February 1972.

PROVENANCE

Garabet și Sabina Avachian collection

Aiming to transcend reality, the artist Pallady managed to bring into his painting a novel concern in Romanian art, that of a spiritual climate. As a flower of intimate painting, his artistic confession gives rise to a creation based on sensitivity, with profound human accents. An important place in his artistic repertoire is certainly held by the female nude, captured in the comforting interiors of his workshops, places suited to the artist attracted by the intimacy of the atmosphere. Frequently repeated, the female nude became a leitmotif, transfiguring Pallady into a predominantly painter of the interior. Rendered in synonymous ambiances and often accompanied by the same interior objects - the armchair, the coffee table, the newspaper, the wallpaper in the room - Pallady’s nudes are described in a repeated and similar state of nostalgia. Observed each time at the same intensity, the inner state of his characters manages to fill the whole space with life. The colours are rare, diffuse, as the artist manages to sensitize matter, creating a unique ambiance through own colour correspondence, along with the orderly rhythm of lines and shapes. With regard to the attention granted to his characters, the artist does not pursue native beauty or the striking resemblance of features but does, however, choose to suggest and sinter shapes, evincing, in this approach, full mastery over matter, which he takes to the borders of his own art. (G.M.)

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