163. Interior with Sage Vase [1930-1935]

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163. Interior with Sage Vase [1930-1935]

Theodor Pallady

1871, Iaşi - 1956, Bucureşti

Estimate:

EUR 10.000 - 16.000

Sold

EUR 11.000

References

ȘORBAN, Raoul, "Theodor Pallady", Ed. Meridiane, Bucharest, 1975. CEBUC, Alexandru, "Pallady", Ed. Official Monitor R. A., Bucharest, 2008. "Drawings by Theodor Pallady from the Collection of the Cris Country Museum", in "Biharea", 1980, pp. 291-322. Florin Rogneanu, "Theodor Pallady and the temptation of the absolute", in "Oltenia. Studies and communications", no. V-VI, 1986, pp. 205-209.

oil on canvas glued on cardboard, 46 x 33 cm, signed on the right side, in pencil, "T. Pallady"

Whether they are cancer with flowers, breakfast, dishes, newspapers or books; or even take the usual form of his props: glasses or the cane, the subjects proposed by Theodor Pallady are most often inspired by immediate reality. In the artist's works, the incisive line of drawing predominates, the importance of the graphic duct being taken over from Degas. He used to constantly reiterate the primacy of form to the detriment of brush strokes and color. A perfect master of composition, Pallady excels in the ordering of the elements that make up his still natures. Usually, the books that crown the tables in his compositions refer to volumes that form the literary core of the painter: Baudelaire, Proust or Nietzsche. We can therefore translate the literary, poetic or philosophical rhythms of his creation into the interpretation of the meanings of universal masterpieces. The fluid course of the line, harmonies and chromatic rhythms are not chosen at random. The artist attributes a meditative gaze on interior scenes and constantly brings back to the foreground of his canvas the still nature, under different variations. The artist does not seek to reproduce the elements of his props with photographic details, but tends to capture their atmosphere and essence through chromatic artifice, refractions of light and undulation of the line. The diffuse color, detached from reality, refines the pigment and is aligned with the creation of an intimate space, in which the forms seem to come alive. One of the artist's favorite leitmotifs enchants us again this time: the flower vase next to the book. The painter bets here on contrasts and on framing as close as possible to the central subject. Therefore, we can affirm that the artist ingeniously rendered the beauty of some forms that generally appear devoid of meaning and excelled in encoding symbols in most of his canvases.

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