Fotografije parcele su informativne i indikativne te ne mogu pružiti vrlo detaljan prikaz objekta iz svih kutova. Preporučujemo pažljiv fizički pregled parcele prije licitiranja.
Fotografije parcele su informativne i indikativne te ne mogu pružiti vrlo detaljan prikaz objekta iz svih kutova. Preporučujemo pažljiv fizički pregled parcele prije licitiranja.
Magdalena Rădulescu had a rich creation, and regardless of the themes approached in her drawings and paintings, the main subject of her works were always people. She was both an exceptional artist and a person who approached the hearts of those around her. Her studies in the field of art reflect her attitude towards life: a continuous process of exploration. The artist debuted in the fine arts after the First World War, in a society tormented by contradictions and agitations. Growing up in an intellectual environment and having the possibility to study abroad, she shaped herself as an artist in the spirit of the German and French school in an artistic climate that aimed to break away from traditionalism. In Munich, she learned to draw and especially to make portraits. Being dissatisfied with the chosen direction, she went to Paris.
Her first exhibition took place in 1924 at the Official Salon in Bucharest, where she exhibited a watercolor. Magdalena Rădulescu raised in the spaces of contemporary modern art the signs of Romanian spirituality to the level of universal values. Her creation extended over the content of consciousness, over that domain where both factual truths and popular myths and legends, the dream with yearning and enthusiasm, the fabulous and fantasy with the joy of living were equally merging. The unusual rhythm of the compositions, the unity of the plastic conception, the personal chromatic, and above all, the imaginary world derived from fairytales and mythical visions convey a specific atmosphere, which we feel within her works. Magdalena Rădulescu had a rich creation, and regardless of the themes approached in her drawings and painting, the main subject of her works were always people. She was both an exceptional artist and a person who approached the hearts of those around her. She was attracted to minorities from her childhood, and the influence of the Dobrogean ethnicities with which she came in contact remained an influential component on her personality and her works. Her connection with the Roma community was well-known and even her lifestyle was characterized by nomadism. The basic characteristics of her models were preserved in paintings, but the real people were transformed into princes and princesses. This transfiguration of reality indicates a desire to change it, painting becoming a necessary form of escapism. The ethnic way in which they dressed attracted attention as much as the accessories they wore (jewelry, crowns, necklaces) made the artist want to transpose these elements and accessories also within her works. Thus, the young women in her portraits can often be seen wearing traditional Romanian, Balkan, Roma or wedding clothes along with jewelry. Another important characteristic of her style is the use of chalky white. The artist uses this shade to create chromatic harmonies and strong contrasts within the characters, an element also observed in the present representation, in the realization of the young bride wearing a white wedding dress with accessories both in the neck area and the head, elements that denote her wealth and abundance, but also in the case of the used frame to frame the young woman.
Thus, the entire portrait is made with the help of these elements, details, clothing and specific accessories that the artist saw from her childhood among young women and that left their mark later within her works. Other similar works with this one are: "Self-portrait in wedding dress" and "Self-portrait in oriental costume", where in these cases too the emphasis is on attention to detail, accessories, clothing, the bride motif, careful contouring of physiognomy and body, but also of the background, elements that are recurring and characteristic in her way of creating her works.
Brașov, 2022
Literatura
Mircea Deac, "Magdalena Rădulescu", Meridiane Publishing House, Bucharest, 1980.
Alexandra Ardelean, "Magdalena Rădulescu 120 Years of Bohemian Grace", Brașov Art Museum, 2022
Dimenzije
width 54.5 cm, height 76 cm
Opis
oil on cardboard, signed lower right, in black, "Magdalena Rădulescu"
Izlasci
anii '40
DODATNE INFORMACIJE
Za pojašnjenja u vezi s postupkom licitiranja, troškovima kupnje, uvjetima jamstva, plaćanja i preuzimanja osvojenog lota preporučujemo da pažljivo pročitate/ponovno pročitate Pravilnik o licitiranju.
Magdalena Rădulescu had a rich creation, and regardless of the themes approached in her drawings and paintings, the main subject of her works were always people. She was both an exceptional artist and a person who approached the hearts of those around her. Her studies in the field of art reflect her attitude towards life: a continuous process of exploration. The artist debuted in the fine arts after the First World War, in a society tormented by contradictions and agitations. Growing up in an intellectual environment and having the possibility to study abroad, she shaped herself as an artist in the spirit of the German and French school in an artistic climate that aimed to break away from traditionalism. In Munich, she learned to draw and especially to make portraits. Being dissatisfied with the chosen direction, she went to Paris.
Her first exhibition took place in 1924 at the Official Salon in Bucharest, where she exhibited a watercolor. Magdalena Rădulescu raised in the spaces of contemporary modern art the signs of Romanian spirituality to the level of universal values. Her creation extended over the content of consciousness, over that domain where both factual truths and popular myths and legends, the dream with yearning and enthusiasm, the fabulous and fantasy with the joy of living were equally merging. The unusual rhythm of the compositions, the unity of the plastic conception, the personal chromatic, and above all, the imaginary world derived from fairytales and mythical visions convey a specific atmosphere, which we feel within her works. Magdalena Rădulescu had a rich creation, and regardless of the themes approached in her drawings and painting, the main subject of her works were always people. She was both an exceptional artist and a person who approached the hearts of those around her. She was attracted to minorities from her childhood, and the influence of the Dobrogean ethnicities with which she came in contact remained an influential component on her personality and her works. Her connection with the Roma community was well-known and even her lifestyle was characterized by nomadism. The basic characteristics of her models were preserved in paintings, but the real people were transformed into princes and princesses. This transfiguration of reality indicates a desire to change it, painting becoming a necessary form of escapism. The ethnic way in which they dressed attracted attention as much as the accessories they wore (jewelry, crowns, necklaces) made the artist want to transpose these elements and accessories also within her works. Thus, the young women in her portraits can often be seen wearing traditional Romanian, Balkan, Roma or wedding clothes along with jewelry. Another important characteristic of her style is the use of chalky white. The artist uses this shade to create chromatic harmonies and strong contrasts within the characters, an element also observed in the present representation, in the realization of the young bride wearing a white wedding dress with accessories both in the neck area and the head, elements that denote her wealth and abundance, but also in the case of the used frame to frame the young woman.
Thus, the entire portrait is made with the help of these elements, details, clothing and specific accessories that the artist saw from her childhood among young women and that left their mark later within her works. Other similar works with this one are: "Self-portrait in wedding dress" and "Self-portrait in oriental costume", where in these cases too the emphasis is on attention to detail, accessories, clothing, the bride motif, careful contouring of physiognomy and body, but also of the background, elements that are recurring and characteristic in her way of creating her works.
Brașov, 2022
DODATNE INFORMACIJE
Za pojašnjenja u vezi s postupkom licitiranja, troškovima kupnje, uvjetima jamstva, plaćanja i preuzimanja osvojenog lota preporučujemo da pažljivo pročitate/ponovno pročitate Pravilnik o licitiranju.
Mircea Deac, "Magdalena Rădulescu", Meridiane Publishing House, Bucharest, 1980.
Alexandra Ardelean, "Magdalena Rădulescu 120 Years of Bohemian Grace", Brașov Art Museum, 2022
Dimenzije
width 54.5 cm, height 76 cm
Opis
oil on cardboard, signed lower right, in black, "Magdalena Rădulescu"
