156. Wildflowers and Art Album [1926-1927]

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156. Wildflowers and Art Album [1926-1927]

Ion Theodorescu-Sion

1882, Ianca, Brăila - 1939, Bucureşti

Estimate:

EUR 2.500 - 3.500

Sold

EUR 3.250

References

SCHOBEL, Doina, CLONARU, Hariton, "Ion Theodorescu-Sion", exhibition catalogue, Art Museum of the Socialist Republic of Romania, Bucharest, 1971.

ulei pe carton, 41 x 33 cm, signed lower left, in black, "T. Sion"

PROVENANCE

Dr. Elena Ciuceanu's collection.

Especially in his early creation we will encounter the influence of artists that Theodorescu-Sion had the opportunity to admire in his pilgrimages through the world's museums. Thus, his painting approach is close to that of Corot, Courbet or Renoir; but we will find similarities especially with the work of Derain or Cézanne. From the latter, the Romanian artist takes over appetite for symbol and constructivism, easy to identify and intuit throughout his entire work. The still life scenes reveal Sion as a master of color and construction. Therefore, we will identify several chromatic periods, each with a certain dominant hue at its center. However, especially in the still lifes, we will encounter a period distinguished by color, where the deliberate geometrization of the shapes is also noticeable. The pictorial nature of the motive will inspire Sion to constantly depict the flower world in his paintings. Carnations, chrysanthemums or roses will be arranged in jugs and colored vessels, with traditional specificity, placed next to bowls or plates with fruit.The artist will respect the principles of classical symmetry and will organize his compositions accordingly, considering the centering of the motif; However, works will be noted in which he no longer maintains these rigors and opts for asymmetries or composite schemes. He is particularly concerned with the study and representation of light (both solar, natural light and light from alternative sources), the accentuation of shadows, the occupation of the whole working surface and the way he distributes and amplifies the line, shapes or volumes. Exponential for the period 1926-1927, as the painter's signature reveals, the present work presents us a dull palette, in which we unmistakably identify the few strong accents specific to his work. The fragile silhouette of the flower vase, to which the painter adds the art album, reveals one of the favorite subjects of the period, both in the painter's creation and in universal art.

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