4. Vessels, Branches and Full Moon [1999]

Constantin Piliuță begins a laborious process, through which he continues the national lyrical tradition. He is not concerned with the imitation of nature, nor does he idealise the vivacious chromaticism used by his predecessors when constructing still life. He notably puts at stake the decorative and affective synthesising of the floral portraits he depicts. Piliuță demonstrates his lyrical and reflexive character by creating an image repertory in the form of extensively elaborated meditative paintings. His painting is discreet and elevated, and his drawing appears to us as simple and well-balanced. He explores the explosive potential of vegetation, making it subject to his preference for balance and harmony as well. Piliuță's flowers establish both nature's statuary beauty, as well as the author's sensitivity. The artist elaborates an enlightened crescendo through the careful interaction between the dark brush strokes and the eloquent white articulating his creation. He embroiders colours and synthesizes impressions, he applies the paint intuitively, accomplishing a notable juxtaposition between the affective and the intellectual. A part of his still life paintings evoke the metaphor of the couple, which can be deciphered in the pairs of flower vases, as well as in the intimacy of the arabesques, captured with the aid of sinuous lines. Piliuță virtuously succeeds in suggesting a new organisation of the pictorial space, as well as in paying special attention to the translucent colour embracing a fair share of his art.

Literatura

CEBUC, Alexandru, "Constantin Piliuță", ARC 2000 Publishing House, Bucharest, 2002. "Constantin Piliuță. Peisajele amintirii", Sport Turism Publishing House, Bucharest, 1983.

Dimenzije

width 87.5 cm, height 87.5 cm

Opis

oil on canvas, signed and dated bottom right, with black, "C. Piliuţă, (19)99"

Izlasci

1999

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