51. Women in the Field

A wild, excessive temperament, circumscribed to the Dionysian model and oneiric fantasies, Ion Țuculescu presents himself as a painter in 1938, during a personal exhibition organized in the building of the Romanian Athenaeum. Gifted with the gifts of the autodidact, he studies freely, "after nature and after the masters", as he himself affirms. He will use his double vocation, biologist and creator, to transpose on the canvas veritable nature pages the ingenuity of the scientist. He revisits the travels of his predecessors to the Mediterranean East and to important Western capitals and thus recovers the visual material necessary for future plastic experiments. He is inspired by Petrașcu, Andreescu or Luchian, but he also stops on a Van Gogh or Gaguin. The basis of his creation will be, unwavering - the Romanian folk. Țuculescu is a true interpreter of nature and excels especially in landscape painting. In 1943, he exposes the series of rape fields, a series to which the present work belongs. He thus reveals his ecstatic-expressionist vision of the exterior natural motif which he will juxtapose directly with his unmediated inner nature. His rape fields are true contrasting chromatic discharges. The bright yellow of the vegetation is joined by the dark purple of the skies that herald the storm in a stylistic revival of obsolete folk art. The exceptional vocation of the chromatic is accentuated by the harmonious alternations of strong tones and the deliberately exaggerated use of paste. The 1943 moment represent a milestone - both in the plastic evolution of the artist and in his receptivity by the critique and public. The artist takes the pictural manner of the expressionists and excels in illustrating the rhythms and in the painting of the touch-lines. His plastic space, endless and with unusual materialisations, is streaked by an artificial luminosity and by a brutal chromatic becoming a central motif. He goes beyond the decorative frame, purely imitative and tends towards the emotional charge of the canvas through the use of an exacerbated palette. His ornamental concordances are set in accents of black, a nuance he assimilates from Petrașcu's work. He keeps recognizable parts of the real space from where he gets inspiration, but he changes them according to his own stimuli. Țuculescu proposes a fantastic aesthetic of fairy tales and inserts roadside crucifixes and birds which he gets from the traditional art. He proposes a new aesthetic order and a different set of values, which he gradually transfers to his works. He reinterprets folk elements in a profoundly modernized manner and transfers the biologist's analytic vision in febrile attempts of exhaustive rendering of frescoes dedicated to nature.

Literatura

VLASIU, Ion, "Ion Țuculescu"; Meridiane Publishing House, Bucharest, 1966. CÂRNECI, Magda, "Ion Țuculescu", Meridiane Publishing House, Bucharest, 1984.

Dimenzije

width 55.5 cm, height 48 cm

Opis

oil on canvas, signed bottom right, in blue, "TUC"

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