22. Scene in Aswan [1906]

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22. Scene in Aswan [1906]

Gheorghe Petraşcu

1872, Tecuci, Galați - 1949, Bucureşti

Estimate:

EUR 6.000 - 9.000

Sold

EUR 8.500

References

CONSTANTINESCU, Paula, SCHOBEL, Doina, "Expoziție de pictură Gheorghe Petrașcu", Muzeul de Artă al R.S.R, București, 1972
COSTESCU, Eleonora, "Gheorghe Petraşcu", Ed. Meridiane, Bucureşti, 1975

oil on canvas, 38 x 55 cm, 55x38, signed and dated lower right, in black, "G. Petrașcu, (1)906"

Research information

Opera a participat la a 6-a expoziție a Societății Tinerimea Artistică, 15 martie - 1 mai 1907 și este menționată și reprodusă în catalogul expoziției la cat. 82, sub titlul "Case în Assuan". Cel mai probabil opera a participat și la expoziția personală deschisă alături de Dimitrie Paciurea la Ateneul Român, februarie 1907, moment în care Petrașcu expunea printre cele 85 de pânze și 20 de peisaje realizate în Egipt. Opera este reprodusă în "Literatura și Arta Română"

Graduate of Fine Arts in 1898, student of the Academicist G.D. Mirea, Petraşcu did not easily detach from the "dusty" environment of the 19th century styles. After graduating from the art school in Bucharest, supported by a scholarship, the painter arrived in Paris. And at the free Parisian academies, Petraşcu came across Academicism, represented especially by master Bouguereau, chief of the Julian studio, which also included Benjamin Constant and Jean-Paul Laurens. In the four years spent in France, the most important influence that Petrașcu experienced did not come from the French masters, but, paradoxically, from Nicolae Grigorescu. The young artist stopped around the spontaneous and traditional Romanian nature, almost a rural one, as an obvious result of the baggage taken from Grigorescu, yet did not indulge in an easy epigonism, but sought to amplify and remodel the aesthetic structure, especially by accumulating an extended imagination realm. His journeys to France create the route of the master of Câmpina, but Petrașcu painted the Barbizon or the Vitre much more freely. Afterwards, the entire study trip widened his thematic and stylistic spectrum, and even if it came closer to Impressionism, and not just once, after 1905Petrașcu was already on the threshold of artistic maturity. The trips to Brittany, Venice and Dobrogea would eventually lead him to Egypt, the most picturesque destination of his entire pictorial itinerary. In 1906 the painter arrived in northern Africa, from where he would return with a small selection of paintings made particularly in Aswan, a city that was an important tourist destination for Europeans at the time.

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