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54. San Giorgio Maggiore Island at Sunset (Venice)

The photos of the lot are informative and indicative, and cannot provide a highly detailed view of the object from all angles. We recommend a careful physical inspection of the lot before bidding.

54. San Giorgio Maggiore Island at Sunset (Venice)

Eustaţiu Stoenescu

1885, Craiova - 1957, New York
Estimate:
EUR 7.000 - 12.000
Sold
EUR 7.000

References

OPRESCU, George, "Stoenescu", Casa Școalelor Publishing House, Bucharest, 1946

oil on cardboard, 51 x 71 cm, 51 × 71 cm, signed bottom right, with black, "Stoenescu"

Even if it is easier for us to characterize Eustațiu Stoenescu as one of the leading portrait painters in Europe in the first decades of the 20th century, we cannot dispute his passion for landscape, which he easily translated into remarkable cycles, both in the local landscapes and in his interaction with the great itinerant cities. George Oprescu spoke in his monograph dedicated to Eustațiu Stoenescu about the influence of James Whistler on the plastic vision of the Romanian artist. In portraits or interiors, but also in landscapes, the influence of the Englishman is felt especially in the technique of the Romanian painter's sailors, a technique that is also claimed by John Singer Sargent. Dedicated mainly to the creation of an impressive gallery of portraits that will make him known in Europe, but also in America, Stoenescu will devote himself to the landscape with extensive travels to London, Paris or Italy or in the country, in Draghiceni, where he used to paint mostly in spring. When he encountered the Italian light (Venice and Florence), captured in various works and at different times of the day, the painter already had the "sure and sensitive gesture" of the post-impressionist manner. The fluidity of Venetian light or the dense London fog had taught Stoenescu to look at and render the subtle effects of the landscape in a more personal manner. For Stoenescu, Venice was more than just a mere painted motif. He revisits the Italian lagoon again and again, painting it with fervour whenever given the opportunity. By painting the same corners, the elements begin to lose their immediate concreteness, becoming part of a pictoriality of its own.

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SESSION
Tue, 22 March 2022 19:00

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