58. Still Life with Anemone and Pears [1954]

Piliuță reveals his reflective character by creating a repertoire of imagery in the form of deeply contemplated meditative paintings. His painting is discreet and elevated, and his drawing is presented as simple and well balanced. He is not concerned with naturalistic imitation and does not idealize the exuberant chromatic used by his predecessors in the construction of still lives. He particularly focuses on the decorative-affective synthesis of the floral portraits he creates. He explores the explosive potential of vegetation, subjecting it to his preference for balance and harmony. Piliuță's flowers capture both the statuesque beauty of nature and the sensitivity of the author. The artist elaborates a luminous crescendo through his attentive relationship of dark shades to the evocative white which articulates the work. He embroiders colors and synthesizes impressions, intuitively applies paint and achieves a remarkable juxtaposition between the emotional and intellectual plane. The artist resorts to a basic botany, more suggested, so his flowers often appear as large color spots. Piliuță manages, with the skill of a virtuoso, to propose a new organization of the pictorial space and to give particular attention to the translucent color that embraces much of his creation. Flowers are perceived as a refuge in the ineffable, and at the same time succeed in enlivening and animating the world in which they sprout. The motif is reduced once again to the essential; and the stake now falls on the power of suggestion that the artist undeniably possesses. The consistent effects of white that he includes particularly in the coloring of the petals or of the flowers as a whole are juxtaposed with expressive accents punctuated in the form of colorful strokes. Created shortly after the completion of his studies, this work betrays the influence of his master - Alexandru Ciucurencu, particularly in the black line and vibrant colors. The color seems to flow from one plane to another, thus managing to harmonize the entire composition. The few touches of ochre complete the unusual illustration of the petals, which no longer represent an actual mimesis of nature, but a personal reinterpretation of the artist accustomed to the codification of metaphors.

References

"Constantin Piliuță. Landscapes of Memory", Sport Tourism Publishing House, Bucharest, 1983. CEBUC, Alexandru, "Constantin Piliuță", ARC 2000 Publishing House, Bucharest, 2002.

Dimensions

width 51 cm, height 36 cm

Description

oil on cardboard, signed and dated bottom right, in black, "Piliuță C., (19)54"

Dating

1954

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