147. Ballerina with Guitar [1943-1945]

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147. Ballerina with Guitar [1943-1945]

Alexandru Ciucurencu

1903, Ciucurova, Tulcea - 1977, Bucureşti

Estimate:

EUR 12.000 - 18.000

Not sold

References

JIANU, Ionel, ”A. Ciucurencu”, State Publishing House for Literature and Art, Bucharest, 1958. IONESCU, Radu, ”Ciucurencu”, Semne Publishing, Bucharest, 1994.

ulei pe carton, 47.5 x 59.5 cm, signed top left, in brown, with the monogram, "AC"

The 1930s mark, in Alexandru Ciucurencu's journey, the moment of liberation from the reminiscences of academic rigor acquired during his studies in Bucharest. The beginning period of his creation is characterized by luminous chords, and upon the pure, vibrant tones, the artist intervenes vividly with a few accents of black that underline a contour. Still life and indoor scenes dominate in this stage. The chromatic palette envelops the forms in a warm, fluid light that enhances the portrayal of the poetic aspects of nature. In this period of exploration, characteristic of the fourth decade of the past century, grey tones make their presence increasingly felt in the artist's works. Ciucurencu captures his models in contemplative poses, sitting on the armchair, lying on the couch, or while reading. He marks a few summary annotations of the real framework and focuses on constructing a simple, concise design. He bets on the brush's exaggeration on the canvas and obtains light and transparency games through tracing uneven strokes. After his return from Paris, Ciucurencu will be noted for his pictorial refinement that abounds in sensitive waves of artistic expression. The artist works in well-defined cycles, both through the themes approached and through chromatics and style. The series dedicated to ballerinas, mainly developed in the '30s-'40s, tackles the subject in a symbolic manner. In effect, Ciucurencu creates an allegory of music and dance, reflecting these two motifs both by using models dressed in ballet costumes and by the inclusion of musical instruments (especially the guitar). Therefore, we find the ballerinas reclined on couches or lying on the floor, posing supported on the right arm, while in the left hand we often identify the indispensable guitar. The faces are summarily sketched, with the costume details, revealing the protagonists' concerns, being more important here. The background is often dull, allowing the muse the joy of the foreground, serving more as an adjuvant and enhancer of the artist's expressive force.

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