117. Harvesting Hay [1924]

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117. Harvesting Hay [1924]

Samuel Mützner

1884, Bucureşti - 1959, Bucureşti

Estimate:

EUR 3.500 - 5.500

Sold

EUR 4.500

References

ANDREESCU, Viorica, "Samuel Mützner", Meridiane Publishing House, Bucharest, 1974. MARIAN, Rodica, "Samuel Mützner", Antet Publishing House, Bucharest, 2005.

oil on cardboard, 40 x 50 cm, signed bottom right, in brown, "S. MUTZNER"

Samuel Mützner's name is strongly related to the evolution of local impressionism, the pictorial technique he mostly approaches in landscapes. In France, he acquires the preference for plen-air, light and colour in Claude Monet's workshop. After his return in the country, in 1923, he assumes the countryside life as principal thematic of his work. He raises the countryside space at the art level and captures the local colour of rural life. He creates, together with his wife, painter Rodica Maniu, in the village where she inherits a small property in Olt County. The hidden house under the shadow of the trees reveals to the two artists a unique setting. Samuel Mützner has, however, a favourite spot from which to work, near a tree, where she can admire the poplars and willows of the village. He creates outdoors and travels through many regions which he gradually integrates into his canvases. Other times, he gets to the rivers area beside the field and models his chromatic palette after the evolution of the nature. He often paints surrounded by the children of the village, curious to learn the craft of the master from the city. He captures landscapes with hills, fields, corn heaps and focuses on the rendering of the seasons under whose seal he paints. In his work, the characters sometimes appear to be posing decoratively, while at other times they are captured at work - haying or corning - and thus any trace of the frozen atmosphere of the picture disappears. Mützner paints the figures of common people, workers, dressed in traditional clothes, which he inserts with mastery in the decor. He relies on the naturalistic depiction of his compositions and introduces the hayloft or agricultural machinery impregnated with the intense light of midday. He works with short touch-lines, harmoniously juxtaposed and adjusts their light according to the time of day, space and season. The white spots, which succeeds the specificity of the peasant blouses or headscarves, exposes his preference for sunny days and noon time.

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