92. Transylvanian Chamber

Tibor Erno will often paint on his canvases the architecture and colours of the city in which he saw the light of day for the first time. Bridges over the river Criș, buildings built in secession style, old trams and vintage cars flood the creations made by the artist in his workshop in Oradea. In 1904, we find him on Tibor Erno among students of the Budapest Art Academy. Here, the young man makes copies after the acknowledged works of universal art and carries out drawing and colour studies. At this stage of his development, he will take on an appetite for naturalism, an interest in light, in highlighting volumes and in rendering the vibrancy of colour. He signs up for Julian Academy in Paris, where his first contact with impressionism takes place, which he will assimilate in his personal manner. He paints plein-air, but opts for much cooler tones than those proposed by the Parisian artistic effervescence. Returned to Oradea, he opens his first exhibition, which abounds in landscapes and portraits. He captures picturesque life, marts and fairs near Oradea in a vivid, bright and with meticulously crafted details chromatic. In 1925, he reaches Paris again, where he transposes his personal touch-lines, the sumptuous cathedrals, museums and buildings. He then returns to Italy, where his chromatic expression will decipher on canvas the sailboats or Venetian ports. His hirst exhibition organised in the capital of France consecrates him among the members of the Salon of Independents. In the second part of his creation, Tibor Erno takes on the specific characteristics of fauvism, draws inspiration from Cézanne's work, uses strong contrasts and uses black contours. Although numerically reduced, the interiors painted by the artist demonstrate his compositional organisation skills. With his clear, well-crafted structure, he elucidates pictorial problems and highlights the sure line of the drawing. Tibor Erno's mastery is particularly evident in this kind of composition. The artist works thoroughly, with expressive details and gives value to the furniture, carpets and decorative objects. He opts for a chromatic palette by which he suggests an intimate and peaceful atmosphere, free of any non-essential artifice.

References

ROȘU, Aurel, "Pictorul Tibor Erno", in "Biharea", 1977, p. 247-257. ZINTZ, Maria, "Contribuții la cunoașterea creației artistice a lui Tibor Erno" ("Contributions to the recognition of the artistic creation of Tibor Erno"), in "Crisia", no. XIV, 1984, p. 497-517. Monica Enache, Alexandru Florian, Valentina Iancu, "Artiști evrei din România modernă" ("Jewish Artists from Modern Romania"), Noi Media Print Publishing House, Bucharest, 2012.

Dimensions

width 99.5 cm, height 71 cm

Description

oil on cardboard, signed bottom left, in black, "T. Erno"

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