Roxana Scripcaru
Head of the Romanian Postmodern & Contemporary Art Evaluation Office
43. Garden [1989]
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43. Garden [1989]
1938, Bucureşti - 2000, Paris
Estimate:
EUR 6.000 - 9.000
Sold
EUR 26.000
References
"Horia Bernea", National Art Museum of Romania. Department of Contemporary Art, Bucharest, 1997. The monograph "Horia Bernea", Noi Media Print Publishing House, 2008. "Școala de la Poiana Mărului" ("Poiana Mărului School"), Publishing House of the Art Museum Brașov, 2013.
oil on canvas, 64.5 x 80.5 cm, 64,5 Ã 80,5 cm, signed and dated right side, in green, "Bernea, 11.1989"
The name of Horia Bernea is closely connected with "The Poiana Mărului School". His own history becomes juxtaposed with the history of the countryside settlement, and the years he spent here as a child would convince him to return, as an adult, to the village that served as his cradle. The artist was the main personality of the group, who often gathered to paint in the small village near Braşov. Taking over the international model of the Barbizon or the Fontainebleau Schools, Poiana Mărului proved itself fruitful for the creation of those artists who used to place their canvases on its hills. "The primordial village", as it is remembered by critics, offered the artists silence and an excuse to shy away from the urban tumult. However, in Bernea's work, this tumult transposed itself into a series dedicated to Gardens. The paintings depicting gardens are unmistakeable. His works in a fragmented manner and he separates his colours in a plethora of short lines, which, when put together, create that compositional harmony that Bernea sought to render in his entire creation. In the flamboyant setting, we can identify gardens that are streaked by clear skies or by clouds foreseeing rain. With an unpredictable approach, the artist sketches gardens in which we can easily distinguish the architecture of the living space. Nature sometimes appears covered in raw green, and other times in darker shades. Household motifs are also present. Whether they appear erratically, or whether they become a focal point, the laundry-bearing ropes complete Bernea's series. Coloured flower pots, as well as tables that are either empty or full, harmoniously complete the final composition.
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Brought to you by
Roxana Scripcaru
Head of the Romanian Postmodern & Contemporary Art Evaluation Office
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