38. On the Beach in Mangalia [cca. 1930]

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38. On the Beach in Mangalia [cca. 1930]

Ştefan Dimitrescu

1886, Huşi - 1933, Iaşi

Not sold

Selling price

EUR 21.850

References

BEDNARIK, Beatrice, „Ştefan Dimitrescu”, Ed. Meridiane, Bucureşti 1965. PARADAIS, Claudiu, „Ştefan Dimitrescu”, Ed. Meridiane, Bucureşti 1978. PĂULEANU, Doina, „Grupul celor patru”, Ed. Monitorul Oficial, București, 2012.

oil on canvas, 36 x 46 cm, 36 Ã 46 cm, signed bottom left, with blue, "St. Dimitrescu"

Research information

The artwork was part of the 5th exhibition of the Group of Four, "Regina Maria" Galleries, March 6-30, 1930 and is mentioned in the exhibition catalogue under cat. 19, under the title "La plajÄ" ("At the Beach"). The artwork is reproduced in "AdevÄrul literar Èi artistic", Year XV, Series II, No. 822, September 6, 1936, under the title "Pe plajÄ" ("At the Beach"). Between 1935 and 1960 the artist is represented posthumously in numerous international exhibitions: Paris, Brussels, New York, Berlin, Stockholm, Zurich, New Delhi, Budapest, Belgrade, Prague, Helsinki, etc.

As an unfailing cultivator of the visible world, to whom he would provide an inner visionary integrity, the artist Ștefan Dimitrescu would adopt reality as a lead. Concerned with the drawing and colouring technique, his painting would turn into an actual study, his virtues can be noticed from the first artistic manifestations. He will stand out through a rich variety of genres approached - portraits, social compositions, genre paintings, landscapes - always in search of the inner truth. With respect to landscapes, noticed in his early repertoire, the artist will demonstrate a strong desire to know his country, often visiting the lands of Olt, Făgăraș, Moldova, and the torrid lands of Dobrogea. Dobrogea will appear in his art starting with the second half of the ’20s, continuing to be a vein of inspiration until the last years of creation. In this torrid and arid landscape, his palette will light up considerably, his brush bringing to life a new, strongly chromatic world. Along with the relief, the human content would become a prosperous source of inspiration, rendered by the artist in vibrant tones, full of balance and clarity. Endowed with a great power of portraitist, analytical and synthetic to the same extent, the artist would vigorously capture the traits, ethnicity and humanity of his models. In Balchik or Mangalia, works of art such as: "Gypsies from Dobrogea", "Life companions", "Tatar woman with children", "Maternity", "At the beach" or "On the beach in Mangalia", would powerfully and truthfully reproduce intimate aspects of Dobrogea, that he would explore inwardly, crowning this fruitful chapter of his creation with splendour. (GM)

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