63. A party [1977]

Absorbing the aspirations of her parents (her father – a railway engineer, her mother – possessing a remarkable musical talent), Magdalena Rădulescu will compose her own artistic rhythm, skillfully combining the mathematical precision of her father with her mother's artistic nature. After completing her studies, many of them abroad, the artist will immerse herself in the world of theater, resulting in a series of portraits dedicated to esteemed actors of her time, and also in creating stage designs (such as the monumental curtain introduced by director Ion Sava in the staging of W.B. Yeats' drama "The Unicorn"). Frequently navigating the world of spectacle, Magdalena Rădulescu adopts other motifs as the epicenter of her works. Notably, dance is one of her favorite subjects, which she draws upon from native tradition, resulting from wandering through Romanian villages, or from folk festivals she attends in Nice. She closely studies the movements of the dancers, their expressions, and costumes, often finding similarities and differences between East and West. Dance becomes a metaphysical element, akin to magic, laden with messages and symbols; music also serves as a connecting element between peoples and traditions, with the artist often highlighting subtle influences from one part of the world to another. Although she places her characters in uncertain settings, mostly against richly colored backgrounds, Magdalena Rădulescu's dancers seem to gently lift from the ground, thus constantly ascending and aspiring towards apotheosis. The thematic cycle proves revelatory for exuberant color rhythms and the choreography of strokes that support the hushed melody of the dancer paintings. Not infrequently, we note a collective dance in an endless circle. Whether we speak of Romanian circle dances or calusari, dance ensembles proposed by the artist become examples through the depth of meanings and messages encoded in their frozen-in-time movements. Hence, we distinguish the recurrence of traditional dancers, costumes, and hats distinctive of certain dance genres, as well as details referring to traditions and spirituality. With arms raised towards the asceticism they dream to achieve, Magdalena Rădulescu's characters receive distinctive strokes and various postures, thus emphasizing their individuality. The artist will place her models, on canvas or paper, with the skill of a scholar, or the apparent chaos of a contemplative bohemian. Most often, starting from one of her favorite subjects: horses, the artist will attach bells worn by calusari dancers to the ankles of her dancers, transferring a pictorial motif from one cycle of artwork to another.

Literatura

Deac, Mircea, "Magdalena Rădulescu", Meridiane Publishing House, Bucharest, 1980. Beu, Lilian, "The Story of a Forgotten Artist: Magdalena Rădulescu" in "Buridava - Studies and Materials", XII, 12.02.2015, pp. 162-176.

Dimenzije

width 64.5 cm, height 50.5 cm

Opis

oil on canvas, signed and dated lower right, in brown, "Magdalena Rădulescu, 1977"

Izlasci

1977

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