17. Enescu in Concert [1960]

Corneliu Baba

1906, Craiova - 1997, Bucureşti

Оценка

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Чет, 2 ноември 2017 19:30

One of the three methods of painting humans that can be identified in the works of Baba is the portrait, or even its integration in the unitary presentation of a true cycle, of a particular character. Along with the self-portrait and the group portrait, the abovementioned theme coagulates into an expressive mechanism of shaping the world around him, defined and coordinated exclusively by human presence. What should be noted is that portrait is also dominated by the inevitable, obsessive elements that control the thematic body crafted by Baba. One of these "obsessions" was George Enescu, which was revealed by the almost four decades in which the recurrence of this motif was clear. The appearance of the musician in Baba's imagination stems from the predilection of the painter for music, particularly violin. In his memoir, the painter described his first meeting with Enescu, in his teenage years, when he listened to him and was delighted by the impressiveness of the Romanian violinist. In 1955, a few months before Enescu's death, Baba started painting a portrait he had wanted for a long time, oblivious to the fact that the 1990s would find him perfecting the same.

Препратки

ȘUȘARĂ, Pavel, "Corneliu Baba", Ed. Parkstone, Londra, 2001
Institutul Cultural Român, "Corneliu Baba", București, 2008

Размери

width 31.5 cm, height 51.5 cm

Описание

oil on canvas glued on cardboard, signed and dated lower right "Baba, (19)60", in brown

Запознанства

1960

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