101. Venice [1934]

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101. Venice [1934]

Gheorghe Petraşcu

1872, Tecuci, Galați - 1949, Bucureşti

Estimate:

EUR 25.000 - 45.000

Sold

EUR 25.000

References

CONSTANTINESCU, Paula, SCHOBEL, Doina, “Expoziția de picture G. Petrașcu” [catalog], Muzeul de Artă al R.S.R., București, 1972

oil on canvas, 42 x 39 cm, 42 Ã 39 cm, signed and dated bottom left, with red, "G. Petrașcu, (1)934"

Research information

The artwork was part of Gheorghe PetraÈcu retrospective exhibition, R.P.R. Art Museum, Bucharest, 1957 and is mentioned in the exhibition catalogue under cat. 145, p. 46. The artwork was part of Venice Biennale, 1960 and is mentioned and reproduced in the exhibition catalogue under the title "A Chioggia". The artwork was part of "Gheorghe PetraÈcu" commemorative exhibition, Cluj Art Museum, p. 14. The artwork was part of "Gheorghe PetraÈcu" commemorative exhibition, Sibiu, Brukenthal Museum, p. 14. The artwork was part of "Gheorghe PetraÈcu Painting Exhibition", R.S.R. Art Museum, Bucharest, 1972, under cat. 145 and is reproduced in the exhibition catalogue under the title "La Chioggia".

PROVENANCE

colecÈia istoricÄ Octavian MoÈescu (1894-1982).

The study of the Petrascian landscape is one of the most interesting challenges that the researcher of modern Romanian art can face. The specificity of Gheorghe Petrașcu's painting introduces us to the psychology of an artist modelled according to the structure of the great Impressionists, even if he himself quickly separated, at the beginning of his career, from the so-called "shortcomings and imperfections" of the plein-air painters. Still, we recognize some elements connected to the quintessence of painting in Petrașcu's master, Nicolae Grigorescu. As a result, a rooting in the impressionist typologies of the 19th century was also transmitted in the "genetics" of Petrașcu's painting. Hence, the two most noticeable features impregnated in the artistic personality were the repainting of the motif - starting from the impressionistic manner of painting at various times of the day - and the study trip. If the first feature is rather obvious in Petrașcu, as the multiple variants of some corners, views, motifs are well known, in the case of study trips things have varied depending on the stages of his career or the attraction for a certain motif. Thus Venice and Chioggia are by far the most visited places in Europe. As the biography and dating of the landscapes tell us, Petrașcu painted in Venice between 1902 and 1939, during which time it seems that he made about 10 trips. Among his most important itineraries we find those materialized in 1924, 1928 and 1934, years in which the painter persevered and executed numerous representative artworks

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