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.
Thematic interpenetration is the tool of the most skilful artists, those who have the ability to valorise any instance by returning to or developing new themes. The case of Ștefan Popescu is eloquent in this respect, particularly due to the fact that the motifs chosen by the painter in the almost 50 years of his career will not go out of style, a quality that landscape painters and Impressionists have appropriated. The subject developed in this small study on wood has its imaginary roots in the so-called period of studies and discoveries, which occurred in the early years of the 20th century, especially during the artist’s stay in Brittany. A first composition with many characters, brought together by a common impulse, in our case the religious service, is offered to us by Ștefan Popescu in 1904, when, at the Artistic Youth, he presented the "Service Day in Brittany", a masterpiece for the period mentioned above, but also for the genre he approached. We also acknowledge here, in our work, his manner of composing a dynamic motif, inaugurated in that very oil painting made in 1903-1904, in which Popescu, despite carrying out an ethnographic study by capturing the characteristics of the human, does not diminish the importance of the construction. The parallel between the two works is also validated by the effective choice of the scene desired by the painter, which presents us some features of the space, along with the human appearance: the portal church in "Service Day in Brittany" gives us a piece of Western European culture, while the traditional porch, with its three-lobe arches, introduces us to the depth of traditional Romanian culture. Regarding the pictorial composition, in "Sunday" the painter reveals himself in the same manner as that used in his landscapes, in a composition defined by colour and touch, which naturally make up shapes with no formal construction gaucherie. The traditionalist tendencies, which Ștefan Popescu had as early as the beginning of the 1920s, in those sămănătorist outbursts, were transferred to works like this one, affiliated to the movement of explicit national specificity through the topics addressed: the presentation of the peasant in a traditional costume in one of the most enlightening activities of the Romanian ancestral space.
Dimenzije
width 35 cm, height 26.5 cm
Opis
oil on wood, signed lower right, in pencil, "Șt. Popescu"
Lot.material_carats
ulei pe lemn
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.
Thematic interpenetration is the tool of the most skilful artists, those who have the ability to valorise any instance by returning to or developing new themes. The case of Ștefan Popescu is eloquent in this respect, particularly due to the fact that the motifs chosen by the painter in the almost 50 years of his career will not go out of style, a quality that landscape painters and Impressionists have appropriated. The subject developed in this small study on wood has its imaginary roots in the so-called period of studies and discoveries, which occurred in the early years of the 20th century, especially during the artist’s stay in Brittany. A first composition with many characters, brought together by a common impulse, in our case the religious service, is offered to us by Ștefan Popescu in 1904, when, at the Artistic Youth, he presented the "Service Day in Brittany", a masterpiece for the period mentioned above, but also for the genre he approached. We also acknowledge here, in our work, his manner of composing a dynamic motif, inaugurated in that very oil painting made in 1903-1904, in which Popescu, despite carrying out an ethnographic study by capturing the characteristics of the human, does not diminish the importance of the construction. The parallel between the two works is also validated by the effective choice of the scene desired by the painter, which presents us some features of the space, along with the human appearance: the portal church in "Service Day in Brittany" gives us a piece of Western European culture, while the traditional porch, with its three-lobe arches, introduces us to the depth of traditional Romanian culture. Regarding the pictorial composition, in "Sunday" the painter reveals himself in the same manner as that used in his landscapes, in a composition defined by colour and touch, which naturally make up shapes with no formal construction gaucherie. The traditionalist tendencies, which Ștefan Popescu had as early as the beginning of the 1920s, in those sămănătorist outbursts, were transferred to works like this one, affiliated to the movement of explicit national specificity through the topics addressed: the presentation of the peasant in a traditional costume in one of the most enlightening activities of the Romanian ancestral space.
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.
