50. Feast in the Jiu Valley [1945]

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50. Feast in the Jiu Valley [1945]

Max Hermann Maxy

1895, Brăila - 1971, Bucureşti

Estimate:

EUR 9.000 - 15.000

Not sold

References

OPREA, Petre, "M. H. Maxy", Meridiane Publishing House, Bucharest, 1974. ILK, Michael, "M. H. Maxy. Integral Artist", Berlin, 2003.

oil on canvas, 65.5 x 81.5 cm, signed and dated upper left, in black, "Maxy", (1)945

Although he began his artistic training alongside significant representatives of modernism, Max Hermann Maxy would become one of the most avid promoters of the avant-garde in the national space, and especially of the Cubist painting style. The artist's style will undergo over time various changes and his work will successively experience both constructivist periods and periods influenced by a moderate modernism, where we mainly distinguish the precepts of realism and the influences of narrative painting. If in most of his work he uses a constructivist manner and plays with spectrums and mirrors, in this work he submits to a much more conventional painting style, in which we can easily distinguish the influence of his first master, Camil Ressu. This work subscribes to the realist period, in which the artist focuses on creation that reveals the new ideals of society. Now, more works will appear that have at their center subjects such as workers (and inevitably productivity). The year 1945 marks the prefiguration of his specific cubism in an area generally approved by the juries of exhibitions. Maxy now arrives in the Jiu Valley and suggestively transcribes the life of the miners and their families, prefiguring a route that penetrates from the depths of the mines to the fairs of the holiday days. A turning point in his evolution: the exhibition "Faces and landscapes from the Jiu Valley", opened to the public in December of the same year, presented no less than 39 works made on the theme. The exhibition included scenes from the lives of miners, the dizzying pace of work and large groups of people. The synthetic drawing and the tendency for geometrization prefigure austere chromatics, with lively tones in places. We note the fair with people's turmoil, colorful buildings, wide open umbrellas, animals, hills and blue skies.

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