117. Reading (Yvonne Cousin in the workshop in Place Dauphine) [cca. 1935]

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117. Reading (Yvonne Cousin in the workshop in Place Dauphine) [cca. 1935]

Theodor Pallady

1871, Iaşi - 1956, Bucureşti

Estimate:

EUR 18.000 - 25.000

Sold

EUR 19.000

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, 64.5 x 53.5 cm, 53,5x64,5, signed right side "T. Pallady", in black

The femininity conveyed by Pallady's paintings with female models is passed through the same demanding filter of his view of life, a refined, yet truly natural one. He observes women in the intimate space where they manifest freely, where they allow themselves a moment of daydreaming, sheltered by a familiar environment. Pallady captures their moments of relaxation, silence and reverie, charged with voluptuousness, and the expression they leave on the body. The sincerity of female spirit is what the artist seems to be looking for, and he manages to show it in his painting, the logic of depiction demanding to bring harmony between this acquired freedom of sensing and the space itself. It is in this manner that we perceive the construction of the intimate universe often conveyed by Pallady using female models. This universe is so present through its very load, as the space used by the painter is his own workshop home. This painting is revealed through the relationship we can guess between the model and the intimacy enabled by the painting's home. The armchair, the typical wallpaper and the table with a pot of flowers remind of a familiar space and they can easily point out and highlight the personal notes of an easily recognisable environment. The workshop in Place Dauphine is thus revealed to us through this painting, "Reading" being a new page in the warping of this intimate universe, so often pointed out. The painting is from the second period of creation in Pallady's entire body of work, namely from the second half of the 30s, a period that also marked the last years spent by the painter in Paris. The model is Yvonne Cousin, the closest person in Pallady's life, his partner between 1924 and 1939.

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