94. Village Nights [1957]

Țuculescu's creation is vigorous and significant precisely because it is always supported by the strength of traditions and unusual spiritual turmoil. He draws inspiration from Petrașcu, Andreescu or Luchian, but also stops at Van Gogh or Gauguin. Fascinated by the great Romanian values, by traditional creation, Țuculescu remains unique in the history of art due to the plastic language he uses especially in the landscape of Romanian painting. Over the years of study, he traveled abroad, in Turkey, Greece or Egypt, trips in which he made studies after the landscape of those areas. Landscapes will be one of his favorite motives. From the landscapes of Greece or Mangalia, to the views from Balchik, Țuculescu will surprise each time with his power of creation and the quality of the chosen nuances. Regarding the landscapes, which he will approach starting with the 1940s, Țuculescu begins to orient himself towards abstract achievements and to place more and more emphasis on folklore themes and elements within them. He will begin to create Bucharest landscapes or from the Mangalia area, works that start from reality, and later will move towards abstraction. His coloristic palette will go through significant changes, the universe remaining mostly realistic, but the scenes will acquire new forms of expression. The strong, serious, intense and sober tones will surprise nature in all its diversity, using a multitude of shades and patches of color. Natural landscapes, with green fields, multicolored vegetation or trees that grow randomly depict a wild and diverse fauna that is most often present in him. Thus, due to the contrast and color of the vegetation, the landscapes created will gain on the one hand, a real aspect, and on the other hand a mysterious, almost magical air. The space of the images is becoming richer and richer in symbols and meanings, in the sense of folklore traditions and superstitions, and the artist expresses through them his own fears, doubts or hopes. Speaking of archaic visions, we can refer to a magical space, with beneficial and harmful forces, with favorable and unfavorable places, because the magical space, like the sacred one, is not logically and naturally continuous. Other symbolic elements present in his compositions are the pillars of death, as he calls them, and which in his works have a totemic, symbolic role, reminding of the ancestors of the homeland, suggesting not only the idea of death and the continuity of life, acquiring a reversible temporal sense, similar to the crosses, where a few examples in this sense are: "Marina with butterflies", "Landscape in Mangalia, "Landscape from Mangalia with the tree of pain", "Columns", "Peacock feather" or "Solar totem". The color and shape of the trees, flowers, vegetation in general aim precisely at this wildness, towards what was not cultivated or cared for by man's hand yet. The austere, dry color and shapes of the thistle flowers of the field prevail, where examples in this sense are: "Constance", "Mangalia" or "Vama Veche". Thus, more and more, in the middle of a landscape of nature or of human settlements, black will begin to predominate and outline the field landscapes, a shade that Țuculescu assimilates from Petrașcu's works. Regarding the present work, it falls into the years after 1950, more precisely 1957, when he begins to create such compositions, the center of interest is represented by a field landscape, where an evident balance will be noted also in the case of assembling the forms and chromatics, based on what Țuculescu combines harmoniously to create relations and compositional nuances distinctive to his work. The center of interest focuses on capturing a field landscape, a scene of folk art that substitutes a good part of the natural landscape forms, so that reality is expressed through the folklore element. The representation of the field can easily have the aspect of an Oltenian carpet, fragmented at a formal and chromatic level and decorated with floral and vegetable elements, in a stylized form. The composition is divided into two registers. The upper register suggests the sky and is treated in shades of red, orange, yellow, but not of clouds but composed of flowers of different shapes and shades. The lower register, suggests the field with flowers, where shades of green, red and orange predominate. The compositional surface is also divided into two horizontal registers, which are delimited by the line motive that is observed from one end to the other of the composition, which is also highlighted by shades of white. Also, on the right side of the composition, also made in white, one can also observe a pillar of death, a totem specific to Țuculescu's compositions, in the form of several symmetrical eyes that is also present in this composition. The chromatics are diverse, in shades of green and orange, with accents of yellow, black and white, where a few examples in this sense are: "Animated Landscape", "Sunset" or "Field with rapeseed" where one can observe in them how Țuculescu managed to use a diverse chromatic, open and natural, how the colors blend with each other, the fresh green mixes with the orange and yellow of the field flowers as well as with the black in the background that all create effects and special shades in these compositions.

Literatura

COMARNESCU Petru "Ion Țuculescu", Meridiane Publishing House, Bucharest, 1967.

Dimenzije

width 47.5 cm, height 56 cm

Opis

oil on canvas, Signed on the right side, in black, "TUC"; signed in the center below, in red, "TUC"

Izlasci

1957

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