148. Guitar Song [1942]

Ciucurencu captures his models in contemplative poses, seated on an armchair, stretched out on a couch, or while reading. He marks a few summary notations of the real framework and focuses on the creation of a simple, concise drawing. He bets on the overexcitement of his brush on the canvas and obtains plays of lights and transparencies by drawing uneven strokes. Ciucurencu will stand out, at the time of his return from Paris, through the pictorial refinement that abounds in sensitive waves of artistic expression. The artist works in well-defined cycles, both in terms of the themes addressed and in terms of chromatics or style. We identify the series dedicated to ballerinas, predominantly developed in the '30s-'40s, which addresses the subject in a symbolic manner. Ciucurencu actually creates an allegory of music and dance, reflecting the two motives both through the use of models wearing ballet costumes, and by inserting musical instruments (especially the guitar). Thus, we find the ballerinas seated on couches or stretched out on the floor, posing leaning on their right arm, while in their left hand we often identify the ubiquitous guitar. The faces are sketchily outlined, the clothing details that betray the concerns of the protagonists being more important here. The background is often bland, leaving the joy of the foreground to the muse, rather serving as an adjunct and enhancer of the artist's expression force. This time, however, the protagonist is represented by a semi-profile, seated on a chair, holding in her arms the ubiquitous musical instrument.

Literatura

JIANU, Ionel, "A. Ciucurencu", State Publishing House for Literature and Art, Bucharest, 1958. IONESCU, Radu, "Ciucurencu", Semne Publishing House, Bucharest, 1994.

Dimenzije

width 54 cm, height 66 cm

Opis

oil on canvas glued to cardboard, signed and dated bottom right, in ochre, "AC, (1)942"

Izlasci

1942

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