180. In the Garden

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180. In the Garden

Nina Arbore

1889, Bucureşti - 1942, Bucureşti

Estimate:

EUR 500 - 800

Sold

EUR 500

References

VIDA, Gheorghe, "Nina Arbore", Arc Publishing House, Chisinau, 2004.

oil on cardboard, 28 x 22 cm, signed bottom right, in black, "Nina Arbore"

Tamara Nina Arbore would initially take painting lessons from Nicolae Vermont, and later she would end up in the artistic center of Munich, where she would study with German expressionists such as Karl Schmidt-Rottluff or Friedrich Fehr. However, one of the most prolific meetings she had was in Paris, where the young artist specialized in the workshop of the painter Henri Matisse. The daughter of historian and man of letters origin from Bessarabia, Zamfir Arbore, Nina Arbore would follow in his footsteps and become one of the most important female presences in Romanian art. She is noted for her personal exhibitions organized in Bucharest (1921, 1922, 1928) but also for her participation in the collective exhibitions of groups like "Romanian Art", "New Art" or "Our Group". Initially, her work stands out by adapting to the requirements of Impressionism; she later adopted the specifics of modernism and eventually borrowed symbol as a stylistic mark. Friendship with Camil Ressu (who even dedicated a portrait to her) brought her closer to the group of artists gathered around the culture man Alexandru Bogdan Pitesti. However, one of the cornerstones of her career was the co-founding, together with personalities such as Olga Greceanu and Cecilia Cuțescu-Storck, of the Society of Women Painters and Sculptors. "Why did we establish this salon? Not as a feminist movement, but for artistic reasons. Talented women were not really welcome anywhere. Even “Romanian Art” did not really welcome female painting. That is why we founded this salon where talented women can exhibit, without the difficulties required by personal exhibitions.", Nina Arbore revealed. Author of the impressive mural painting from the church "Saints Emperors Constantine and Helen" in Constanța, but also superb portraits dedicated to family members or renowned personalities, Nina Arbore dedicated herself to her belief: "A specifically feminine sensibility does not exist in art for the simple reason that intelligence and art do not have a gender."

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