47. Gate [1982]

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Brought to you by

Roxana Scripcaru

Head of the Romanian Postmodern & Contemporary Art Evaluation Office

0736 381 153 [email protected]

47. Gate [1982]

Ion Dumitriu

1943, Galaţi - 1998, Bucureşti

Estimate:

EUR 1.500 - 2.500

Sold

EUR 1.600

References

Exhibition catalogue "The School of Poiana Marului", Art Museum of Brasov Publishing, 2013.

ulei pe pânză, 38 x 55 cm, signed and dated bottom right, in violet, "ID, (19)82"

Although Ion Dumitriu was the last of the painters to arrive in Poiana Mărului (he arrived here in 1971, on the recommendation of his friend and colleague Horia Bernea), the artist would become one of the leading members of the group that settled in the small rural settlement at the foot of Brașov. He would transpose onto canvas the hills, the trees, the sky and the grass; the barn and its gates, the haystacks, the houses or the hay carts. He would rely on the expressiveness of usual things placed in ideal contexts and he would enjoy the small village that facilitated his study of nature until 1991. In addition to plastic arts, Ion Dumitriu showed a great interest in the art of photography, taking on this role and executing a true documentary work with the help of the camera. He used to photograph elements and pieces of nature that he intended to transcribe pictorially; thus, today we can enjoy both the existence of photographic frames, and the plastic interpretation of those - both aspects revealing a genuine visual talent. Photography would thus become a working tool through which the artist would decompose his working process. His photographs would be divided into several categories; among the most important we mention the documentary value photography that captures the group of painters from the clearing, with all the activities and compositional organizations prepared in advance; but also photography with purely artistic value. In this work, Ion Dumitriu relied on his multivalent talent and depicted in a pictorial manner, but with obvious photographic concerns for details, the barn gate. He managed to capture here all the asymmetries and unevenness of the wood, all the color deviations; but also the energetic outline of the blades of grass that ripple frantically in the wind.

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