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.
Beyond portraits of children and female muses, among the artist's frequent stops on the world of Dobrogea, we will also identify a genre scene every now and then. So, we are witnesses to a beach day where the meeting line of the sand with the sea emerges diagonally and splits the board into two more or less equal planes. The four characters, strongly individualized by clothing and posture become the focal point of the composition. In the lower left corner of the work we notice one of the protagonists lying on the sand, caught reading. To his right, the muse dressed in a green bathing suit protects her body from the sun with a considerable size umbrella, rendered in different shades of ochre. In the background, much closer to the sea shore, we distinguish the two characters dressed in pink, respectively white, caught in a dialogue. We therefore have in front of us a scene where the emphasis is rather on the characters and less on the background. Most likely, Tonitza directs his attention this time again to a beach in Mangalia. After the Turkish cemetery, the Dobrogean architectures, inns, gates, ships or cafes, the artist stops on the marine space. From 1925 until the mid-1930s, Nicolae Tonitza constantly returns to the arid shore of the Black Sea. The incandescence of the sea is now presented in landscapes of Dobrogea, intensely colored by the sun. The panoramas from Mangalia become the ideal pretext for sensory-affective studies of the seaside places. We are now dealing with a tighter setting than the landscapes the artist has accustomed us to. The present composition also reminds of the beach scenes executed by the colleague and friend of the artist, Ștefan Dimitrescu, in the same period. Both focus their interest on the issue of chromaticity, but also on the representation of characters. The theme will be intensively adopted within the Group of the Four, of which the two previously mentioned artists were also part. Over the few years they exhibited together, the four artists more or less synchronized the subjects addressed in their works, sometimes working together in Balcik or Mangalia. The space invaded by the sun will lead to the adoption of a much more vigorous chromatic palette, as we can also observe in the current work. The short brush strokes, hastily placed particularly in suggesting the sea and sand, contribute to creating a jovial atmosphere. The declarations of pink, blue or green participate equally in the painting of an overflowing sea view.
Dimenzije
width 51 cm, height 31 cm
Opis
oil on cardboard, signed bottom right, in pencil, "Tonitza"
Izlasci
1925-1930
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.
Beyond portraits of children and female muses, among the artist's frequent stops on the world of Dobrogea, we will also identify a genre scene every now and then. So, we are witnesses to a beach day where the meeting line of the sand with the sea emerges diagonally and splits the board into two more or less equal planes. The four characters, strongly individualized by clothing and posture become the focal point of the composition. In the lower left corner of the work we notice one of the protagonists lying on the sand, caught reading. To his right, the muse dressed in a green bathing suit protects her body from the sun with a considerable size umbrella, rendered in different shades of ochre. In the background, much closer to the sea shore, we distinguish the two characters dressed in pink, respectively white, caught in a dialogue. We therefore have in front of us a scene where the emphasis is rather on the characters and less on the background. Most likely, Tonitza directs his attention this time again to a beach in Mangalia. After the Turkish cemetery, the Dobrogean architectures, inns, gates, ships or cafes, the artist stops on the marine space. From 1925 until the mid-1930s, Nicolae Tonitza constantly returns to the arid shore of the Black Sea. The incandescence of the sea is now presented in landscapes of Dobrogea, intensely colored by the sun. The panoramas from Mangalia become the ideal pretext for sensory-affective studies of the seaside places. We are now dealing with a tighter setting than the landscapes the artist has accustomed us to. The present composition also reminds of the beach scenes executed by the colleague and friend of the artist, Ștefan Dimitrescu, in the same period. Both focus their interest on the issue of chromaticity, but also on the representation of characters. The theme will be intensively adopted within the Group of the Four, of which the two previously mentioned artists were also part. Over the few years they exhibited together, the four artists more or less synchronized the subjects addressed in their works, sometimes working together in Balcik or Mangalia. The space invaded by the sun will lead to the adoption of a much more vigorous chromatic palette, as we can also observe in the current work. The short brush strokes, hastily placed particularly in suggesting the sea and sand, contribute to creating a jovial atmosphere. The declarations of pink, blue or green participate equally in the painting of an overflowing sea view.
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.
