72. Green Door

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72. Green Door

Ion Ţuculescu

1910, Craiova - 1962, Bucureşti

Estimate:

EUR 30.000 - 50.000

Sold

EUR 75.000

References

VLASIU, Ion, „Ion Țuculescu”, Ed. Meridiane, București, 1966. DAVIDESCU, Cătălin, „Țuculescu”, Ed. Scrisul Românesc, București, 1988. Catalogul Expoziției Retrospective „Ion Țuculescu”, Ed. Muzeului Național de Artă al României, București, 1999.

oil on canvas, 59 x 50.5 cm, 59 Ã 50,5 cm, signed bottom left, with black, "TUC"

Research information

The artwork participated in traveling retrospective exhibition "Ion Èuculescu", ConstanÈa, 1965, at cat. 21. The artwork is reproduced in "Ion Èuculescu", Ion Vlasiu, Meridiane Publishing House, Bucharest, 1966, at cat. 21, under the title "UÈa verde" ("Green door"). The artwork is reproduced in "Èuculescu", Petru Comarnescu, Meridiane Publishing House, Bucharest, 1974, at cat. 41, under the title "UÈa verde" ("Green door"). The artwork is reproduced in "Èuculescu", Petru Comarnescu, Meridiane Publishing House, Bucharest, 1974, at cat. 41, under the title "Porte verte". The artwork is reproduced in "Ion Èuculescu. Reconstituirea" ("Ion Èuculescu. Reconstruction"), CÄtÄlin Davidescu, MNAC Publishing House, Bucharest, 2020, at p. 70.

PROVENANCE

Octav Angheluță collection

Drawn to the modernity of Romanian folk art from the very start, the artist Țuculescu manifests lively colourist features, enveloping the images in resounding shades. Starting in the, 1940s his painting saw significant transformations. A first aspect is related to the consistency of the paste, which he substantially reduced. Another aspect is related to the topics and themes they cover, which are starting to diversify significantly. Thus, genres such as still lifes or interiors, present in his work for a relatively short time, begin to emerge in his repertoire. The transformations intensify with the personal exhibition of March 1942, held at the Romanian Athenaeum, where we see expressionist treatments, a period when the artist renounces light for brightness, nuance for strong contrasts and detail harmonies in favour of decorative congruence. With regard to the interiors, we note this genre in his creation around the year 1942, one of his works of reference in this period being "The Painter’s Workshop" of the painter Van Gogh, with whom he came in contact in the year 1937, on the occasion of the retrospective exhibition dedicated to the Dutch artist in Paris. Starting in the same year, we note other comebacks to the motif, such as: "Interior țărănesc" ("Rustic interior"), "Interior cu maramă de borangic" ("Interior with raw silk head dress"), "Interior țărănesc cu macat în dungi" ("Rustic interior with striped quilt"), "Interior cu scoarțe țărănești" ("Interior with rustic rugs"), "Ușa verde" ("Green door") et al. (G.M.)

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