83. Nude Inside [1933-1935]

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83. Nude Inside [1933-1935]

Theodor Pallady

1871, Iaşi - 1956, Bucureşti

Estimate:

EUR 20.000 - 30.000

Sold

EUR 28.000

References

JIANU, Ionel, "Pallady", Căminul Artei Publishing House, Bucharest, 1944. ȘORBAN, Raoul, "Theodor Pallady", Meridiane Publishing House, Bucharest, 1975. CEBUC, Alexandru, "Pallady", Monitorul Oficial R.A. Publishing House, Bucharest, 2008.

oil on canvas pasted on cardboard, 60.5 x 49.5 cm, 60,5 Ã 49,5 cm, signed bottom centred, with pencil, "T. Pallady"

Research information

The artwork was part of the solo exhibition Theodor Pallady, Romanian Athenaeum, Bucharest, 1935, at cat. 66 (see inscription H-66 12). The artwork was part of the 22nd Venice International Exhibition, 1940, cat. 126. The artwork was part of the exhibition of the Aurel I. Siligeanu collection, Simu Museum, Bucharest, 1968 and is mentioned in the exhibition catalogue at cat. 28, under the title "Nud Ã®n picioare cu glastrÄ de liliac" ("Nude standing with lilac pot"). The artwork was part of the retrospective exhibition "Omagiu lui Theodor Pallady" ("Tribute to Theodor Pallady"), The R.S.R. Art Museum, Bucharest, Dec.1971- Feb.1972 and is reproduced in the exhibition catalogue at cat. 155, p. 212-213, under the title "Femeie Èi liliac" ("Woman and lilac").

PROVENANCE

the historical collection Dr. Aurel I. Siligeanu;

An important place in the Palladyan repertoire will certainly be occupied by the female muse, captured in the comforting interiors of his workshops, places suited to the artist attracted by the intimacy of the atmosphere. Often revisited in various portrayals, the female muse, which over time became the leitmotif, would make Pallady an accomplished painter of interiors. Expressed in synonymous settings and often accompanied by the same interior objects - the armchair, the coffee table, the wallpaper of the room rendered in detail - Pallady's muses will be depicted in repeated states of contemplation, waiting, reading or resting on armchairs and couches. Observed each time at the same intensity, the inner state of his characters will manage to fill the whole space with life. His chromaticism is sparse, diffuse, always in search of a desired sublime, lending a certain detachment from reality. This way, the artist succeeds in sensitizing the material, creating unique atmospheres through colour correspondences, together with an orderly rhythm of lines and shapes. As far as the truthful treatment of reality is concerned, the artist will not pursue native beauty, nor the striking resemblance of features, but will only suggest forms, synthesizing them and thus bringing them to the boundaries of an individualized art. (G.M.)

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