162. Woman with Fan [anii '30]

The late 19th century will find Theodor Pallady, in the midst of the Parisian frenzy, where he would often return throughout his life. Inspired by the landscapes and habitants of the banks of the Seine, he will dedicate more works to this subject. He will, however, stop at his own vision and personal experiences and will not go beyond this horizon. He meets the French aristocracy and studies with Matisse, Marquet and Rouault under the guidance of Gustave Moreau. The group he adheres to is resolutely against academism, naturalism and impressionism. In 1920, he stands out through a personal exhibition in Paris, exhibition which will consecrate him among the critics of the time. In the intimacy of the chambers, Pallady enhanced the entire essence of the female character, who became, in his work, the muse and leitmotiv. He often paints nudes, but excels in portraits as well. He captures the female model laying on the armchair, on the bed or coach, but he is also concerned with the calculated arrangement of inorganic objects, which he groups in a balanced way, often taking the form of a coffee table, a desk, a newspaper or a book. The fluid flow of the line, the harmonies and chromatic rhythms are not chosen by chance. The artist takes a meditative look at the interior scenes and constantly brings the female character to the forefront of the canvas in different variations. Pallady realizes a real poetry of the interiors and attributes his museums a hieratic symbolism. The individualisation of the protagonists occurs especially in portraits. In the present work, Pallady's Frenchwoman occurs crowned by the turquoise turban, which in similar works takes on shades of red or green. The mystery of the female body, elucidated so many times in works dedicated to the nude, is this time depicted in brightly coloured clothes. The human figure occurs as a pretext for the line and colour. The artist does not seek to render in photographic detail the models who pose him, but tends to capture the atmosphere and the essence of the character's psychology through chromatic artifice, refraction of light and line waving. The diffuse chromatic, detached from reality, refines the pigment and is in line with the constitution of an intimate space, in which the elegant forms of the muse converge beyond the profane dimension proposed by the nudes, towards sacredness.

Препратки

BLAZIAN, H., "Pallady", State Publishing House for Literature and Art, Bucharest, 1957. ȘORBAN, Raoul, "Theodor Pallady", Meridiane Publishing House, Bucharest, 1975.

Размери

width 37.5 cm, height 44.5 cm

Описание

oil on cardboard, signed on the left side, with pencil, "T. Pallady"

Запознанства

anii '30

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