121. Candle with Carnations [cca. 1923]

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121. Candle with Carnations [cca. 1923]

Ion Theodorescu-Sion

1882, Ianca, Brăila - 1939, Bucureşti

Estimate:

EUR 3.500 - 5.500

Sold

EUR 5.500

References

SCHOBEL, Doina, CLONARU, Hariton, "Ion Theodorescu-Sion", exhibition catalog, Art Museum of the S.R.R., Bucharest, 1971.

ulei pe carton, 47 x 37 cm, signed bottom left, in black, "Teosion"

Ion Theodorescu-Sion developed his interest for drawing rigor under the guidance of his professors: George Demetrescu Mirea, Jean Paul Laurens or Luc Olivier Merson. Particularly in his early works we will find the influence of some artists that Theodorescu-Sion had the chance to admire during his travels through world museums. His painting therefore approaches that of a Corot, Courbet or Renoir; but we will find mainly similarities with the works of Derain or Cézanne. From the latter, the Romanian artist takes over the appetite for symbol and constructivism, easily identified and intuitively throughout his entire work. The still lifes reveal Sion as a master of color and construction. Thus, we will identify several chromatic periods, each having a certain dominant shade at its center. However, we will encounter, especially in still lifes, an eminently coloristic period, in which the deliberate geometrization of forms also stands out. The picturality of the motif will inspire Sion to constantly reproduce the world of flowers in his canvases. Carnations, chrysanthemums or roses will be placed in traditional specific colored pots and vessels, placed next to bowls or plates with fruits. The artist will respect the principles of classical symmetry and will organize his compositions according to these, considering the centering of the motif; however, also notice are those works where he no longer abides by these rigors and opts for asymmetries or composed schemes. He is particularly interested in the study and representation of light (both sunlight, natural; as well as that from alternative sources), the accentuation of shadows, the occupation of the entire working surface and the way he distributes and amplifies the lines, shapes or volumes. A bouquet of red carnations occupies the foreground of the work, casually placed in a traditional ceramic jug from the Turda area. In the vase bouquet also appears a white carnation, which provides a contrast of light and balances the composition, given the fact that represented on the surface of the vessel we find, on the ascending oblique line, a similar flower drawn. A few more flowers are placed next to the vessel, as if the bouquet was too generous and the vessel was too small. The background is simple, in earthy tones, with broad strokes, and the viewer's attention is entirely captured by the vessel with flowers. The work is reminiscent of the numerous variations of Stefan Luchian's carnations vessels and can be seen as a tribute exercise.

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