64. View to Santa Maria della Salute [1926-1932]

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64. View to Santa Maria della Salute [1926-1932]

Nicolae Dărăscu

1883, Giurgiu - 1959, Bucureşti

Estimate:

EUR 14.000 - 22.000

Not sold

References

Catalogul Expoziţiei Retrospective "Nicolae Dărăscu", Muzeul de Artă al Republicii Socialiste România, Bucureşti, 1966
DRĂGUȚ, Vasile, "Nicolae Dărăscu", Ed. Meridiane, București, 1966

oil on canvas, 65 x 80.5 cm, 80,5x65, signed lower right, in red, "N. Dărăscu"

In the third decade of last century, Dărăscu became renowned as one of the most representative local Impressionist artists. However, the path of the painter caused another of his appearances in the entire picture of Romanian fine arts. Certainly, the secret behind artistic development is found in the successive accumulation of various influences, acquired both during and after his studies. Since the 20s, Dărăscu managed to adapt his style to the needs of solving problems related to volume building. Colour rules the entire composition, and the surfaces are coordinated exclusively by the painted volumes. However, the developed chromatic complex is also subjected to the purification process. Colour loses its pure consistency, with which it was used in the first periods, and contrast becomes the tool of an in-depth chromatic range. The palette becomes essentialised to the point where we can see in Dărăscu’s landscapes, especially in 1926-1928, a chromatic bivalence modelled around yellow and red. Of course, the entire chromatic complex is subordinated to blue tones, especially in the Venice paintings made during this period, as Dărăscu’s landscapes are always coordinated by the consistency of the water. Recalling the paintings made in the mid-19th century by J.M.W. Turner, in which the British artist painted the domes of the famous cathedral from far away, Dărăscu painted in his very typical manner one of the defining compositions of the cycle dedicated to Venice.

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