80. Gladioli [mijlocul anilor '30]

His talent is mainly demonstrated in the color elaboration, to which Tonitza pays much attention, considering the concept and theme where he sets the paint. The artist does not reproduce nature, but he represents it, thereby becoming a protector of the environment that surrounds him. He composes a painstakingly studied ode dedicated to floral elegies, and he models in paste, energetically handling the knife, carnations, marshmallows, chrysanthemums, gladioli or roses. The twilight of life surprises Tonitza surrounded by canvases that abound in bouquets or vases with flowers. His biography is intertwined with the creative element, thus we will identify for the first time the painting dedicated to flowers at the joint exhibition "N. N. Tonitza – Ștefan Dimitrescu", in January-February 1920. But the fervour of the elegies dedicated to nature will also be known around 1935-1937, when the painter will move his creative workshop to Schitul Durău, in Neamț. Tonitza will get here for three consecutive summers, along with his students from the Academy of Fine Arts in Iași. Nature excites the artist's creative spirit and remains one of the main muses of his work over the years. The "landscape" outings imposed by the German school, around Munich, at Dachau, the creatives camps from Durău or the discovery of Dobrogea and Balchik will materialize in a long line of works dedicated to nature and the exterior space, but also by acquiring a different color palette or through long exercises dedicated to the representation of light. The artist dedicates this work to a bouquet of gladioli, which he composes of bright tones and strident chromatic accents. The choice of flowers, not at all random, leads to the idea of fascination and power, as gladioli have often been associated with this meaning. Built from complementary colors, this work presents us different tones and shades of red and green to which the artist intuitively adds inserts of black or intense blue. Tonitza's flowers are the flowers that have recurrently appeared in the works of many Romanian artists over time. From Petrașcu's mallow to Aman's carnations, the history of Romanian art is overflowing with floral elegies transposed onto canvas, to which their authors attribute much deeper meanings. Most of the works resulting from the artist's incursions to Durău, Mangalia, or Balcik can be admired at the exhibitions of "The Group of Four", but also at personal exhibitions. The realization of floral plans will not, therefore, be a practice alien to Tonitza, but will become a motif approached recurrently, developed and adored by the nature-loving painter.

Препратки

ȘORBAN, Raoul, "Tonitza", Meridiane Publishing House, Bucharest, 1973. PELEANU, Georgeta, "N.N. Tonitza Exhibition", Bucharest, 1964.

Размери

width 25 cm, height 40 cm

Описание

oil on cardboard, signed top left, in brown, "Tonitza"

Запознанства

mijlocul anilor '30

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