47. At the Well [1924]

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47. At the Well [1924]

Ion Theodorescu-Sion

1882, Ianca, Brăila - 1939, Bucureşti

Estimate:

EUR 15.000 - 25.000

Sold

EUR 21.000

References

PAVEL, Amelia, "Ion Theodorescu-Sion", Meridiane Publishing House, Bucharest, 1967. SCHOBEL, Doina, CLONARU, Hariton, "Ion Theodorescu-Sion", exhibition catalogue, Art Museum of the R.S.R., Bucharest, 1971.

oil on cardboard, 54 x 44 cm, signed and dated bottom left, in black, "Ion Theodorescu Sion, 1924"

Research information

The artwork participated in the "Ion Theodorescu-Sion" exhibition, Art Safari, 11th edition, February 10 - May 14, 2023.

Ion Theodorescu-Sion often returned to the Arges region, particularly around the 1920s, where he would paint directly in the midst of nature. He became an active observer and transcribed both the landscape and the human figures moving through the valleys and going about their daily lives. The artist's ethnographic pursuits often featured fountains as a common theme, and granted the human figure the title of tradition's archetype. We are dealing with a decorative composition, whose points of interest revolve around nature and the human figure. From the same period date works such as "Manole's Fountain" (1923), "At the Source of the Cross" (1925), or "At the Miraculous Fountain" (1925). We find the artist's inclination towards mural painting in the way he approaches and unfolds his forms. The landscape takes on a symbolic character, and the intentionally arranged pyramid shapes reveal the composition's theatrical scenic character. Referencing mythology and legend, Theodorescu-Sion decorates his canvases starting from the raw green of vegetation and progressing gradually to the dusty grey of hills and rocks. Noteworthy, in addition to the scenic effects, are the traditional costumes of the characters: shirts and sheepskins, vests, headscarves and full skirts, or the pitchers carried on arms or heads. The vigorously outlined silhouettes give a unique rhythm to the interaction between characters. The artist focuses his attention on framing an ideal scene, in which man is in direct communion with nature. The geometry of the whole frame seems directly inspired by tradition and subsequently woven into the fabric of the canvas.

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