89. Elegance [1940]

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89. Elegance [1940]

Francisc Gall

1912, Cluj - 1987, Paris

Estimate:

EUR 2.000 - 3.000

Sold

EUR 4.750

References

ALEXA, Tiberiu, MOLDOVAN, Traian, MUSCĂ, Mihai, "Centrul Artistic de la Baia Mare. 1896 – 1996" ("The Baia Mare Art Centre. 1896 - 1996"), Maramureș County Museum, 1996. FLAMENT, Andre, "F. Gall", Editions Visions sur les Arts, Paris, 1977.

oil on plywood, 60.5 x 50 cm, 60,5 Ã 50 cm, signed and dated bottom left, in red, "F. Gall, (1)940"

Francis Gall’s remarkable personality is divided between the title of "one of the most representative artists of the Baia Mare Artistic Centre" and that of a true follower of Monet or Degas. He successively studied at Cluj, Rome, and Paris; in 1932, he exhibited at the Gallery of Modern Art in Rome, where he met painters such as Friesz, Derain, or Picasso. He was present on international picture rails throughout his career and took on the technique, style and colour effects specific for French Post-Impressionism. The lyrical atmosphere of his paintings is evident both in the works in which his own children serve as models, and in those in which we sometimes discover other characters. With ebony-black hair flowing from under the hat painted in the same dark tone, Gall’s muse reveals herself to the viewer as an elegant presence, with an austere outfit, which evokes, however, sensuality and mystery. The young woman is the protagonist of several works signed by the artist recalling the feminine grace and the charm of an era that is long gone. Francisc Gall was a keen observer of the time’s fashion, and he transcribed the details of his characters’ outfits with devoted talent. Worn strictly for decorative purposes, the hat in this work acquires small dimensions, designed to support the purely aesthetic style approached by women of the time. The artist does not reveal a simple portrait or a bust; instead, he goes further, sketching almost entirely the body of his muse. So we have the chance to observe the whole outfit and especially the black dress, simple, long over the knee, specific to the World War II period. Although the difficulties caused by armed conflict imposed some limits, women made up for the lack of more eloquent outfits by making their own accessories, arranging rich curls, applying bright lipsticks, or wearing the above-mentioned hats. Starting from Impressionism to the modern school of Paris, the artist studied the compositional principles of drawing and excelled in their application in his works. In this work, he adopted a more sober palette, a profoundly free manner, with robust and precious tones, and he entered an oxymoronic pact between sensitivity and pictorial force. (D.C.)

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