45. Sails in Venice [1914]

A steadfast painter of seascapes, Nicolae Dărăscu builds an artistic identity connected to the depiction of the sea, exploring the relationship between water and light. The maritime theme represents a continuous thread in his creation, taken up in different stages of his artistic career and in multiple geographic spaces, from the Mediterranean Sea to the Romanian coast and the Danube Delta, to the Venetian channels. His interest in vessels becomes a recurring element, they are integrated into compositions that emphasize the Impressionist color scheme. In the early period, the 1908 journey to Saint Tropez marks an important stage in shaping his preference for this theme. The specific light, the colored sails of the vessels, and the dynamics of the harbor captivate the artist's attention, and works such as "View from Saint Tropez" or "Saint Tropez Harbor" denote an approach to Impressionist aesthetics, sometimes with pointillist accents. In these compositions, the expanse of water is rendered with vibrant strokes, and the boats structure the pictorial space. Thus, the first association between light and movement is outlined, which will return in all subsequent iterations addressed. Arriving in the mid-1920s in northern Italy, in Venice and Chioggia, Dărăscu will perpetuate the Impressionist theme and the series of works carried out between 1925 and 1926, subsequently exhibited in the "Venice" exhibition, is considered a landmark of Romanian modern painting, being appreciated by contemporaries such as Francisc Șirato and Nicolae Tonitza. The artist's interest focuses on the effects of light on water and upon volumes painted through color, thus approaching European masters such as Claude Monet or Pierre-Auguste Renoir. The work at hand bears the marks of Nicolae Dărăscu's thematic and stylistic journey, reflecting the artist's preference for seascape and for the dialogue between light and color. Color governs the entire present composition, and the surfaces are coordinated exclusively by painted volumes. Against the background of the clear blue sky and the buildings, the light sails are projected - either hoisted or lowered - suggesting the movement of boats. Thus, the point of interest is directed towards sails, located at the central point of the composition, as we also observe in other works of the artist, "Boats in Chinoggia" (1926) or "Fishing vessels" (1924). Transposed into a dual register of red and yellow, the sails offer rhythm to the work, unfolding in a wide perspective, horizontally. We can observe a chromatic bivalence, modeled around the main tones of the work: blue and orange. The brushwork used to sketch the sea reminds us of the features of Impressionism and imitates the authentic consistency of water. Although caught floating in place, the boats give the impression of imminent movement, similar to the work "Landscape from Venice". Thus, the present work condenses Nicolae Dărăscu's sustained fascination with the seascape and the association between light, water, and color, symbolizing an entire chapter of his artistic corpus.

Literatura

DRĂGUŢ, Vasile, "Nicolae Dărăscu", Meridiane Publishing House, Bucharest, 1966 Exhibition Catalogue "Nicolae Dărăscu. Magician of Color", National Cotroceni Museum, Bucharest, 2009 IONESCU, Radu, "Dărăscu", Meridiane Publishing House, 1987 DEAC, Mircea, "The Impressionistic Landscape in Romanian Painting", Official Monitor, Bucharest, 2009

Dimenzije

width 64 cm, height 50 cm

Opis

oil on canvas, signed and dated illegibly, bottom right, "N. Dărăscu, 1914"

Izlasci

1914

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